Transcript Music and dances from Calabria in the global village. Our typical

MUSIC AND
DANCES FROM
CALABRIA IN
THE GLOBAL
VILLAGE.
Our typical dance.
TARANTELLA
In the past…
…today
What does “Tarantella” mean?
The word “Tarantella” indicates a
combination of different dances and songs
belonging to the popular tradition of
southern Italy.
 In Calabria, the Tarantella indicates a set
of dances with a common ground base
but with different meanings and
articulations.

The Tarantella encloses musical kinds of dances very different between
them, but it has a common historical origin that is identifiable in some
elements that characterize southern dances and folk music.
The most important elements that characterize this dance , are the
followings:
Executive style: according to the tradition, the executor is in a state of
trance with classical divinities, that in some way give him expressive
elements.
The end: the final is based on two elements: the first is the healing or
death of the tarantato, the second element is the weariness caused by
very long executions of drums.
The periodicity: all forms of southern tarantella are based on the tone
which can be major, minor, and exhausted in the space of four beats.
The polyrhythm: the instruments like the guitar, the tambourine provide a
cyclic ternar, so the song plays a binary function.
Origin of the Tarantella

According to an old
popular belief, the
movements executed by
Tarantella dancers, above
all in the acceleration of
the rhythm, would be
caused by the bite of
Lycosa tarentula. This
hypothesis, however, has
no medical scientific
truth because it has
been shown that the bite
of Lycosa tarentula is not
poisonous.
The Neapolitan Tarantella’s area
The 'ndrezzata’s area
The Saltarello’s area
The Pizzica’s area
The
Viddhaneddha’ s
area
The Viddhaneddha
It ‘s a dance of Greek derivation from the
dialect word "villanelle", who is a young
country girl.
 The viddhaneddha can be danced
individually or in pairs; never collectively.
The couple can be mixed (man and
woman) or homogeneous (man and man).

Role of "Mastru d’ abballu" in
homogeneous pair:

The operations of dance are directed by a
charismatic leader chosen by the dancers for his
experience and his ability: the "mastru of abballu".
At the first notes of the players he gets in the
center of the delimited circle to dance the
viddhaneddha and after the first dance steps,
turns to the presents and chooses "With a kind
and bold gesture and after greeting by touching
his forehead with the fingers of the folded right
hand. The partner to dance with. After a few
rounds the mastru d’ abballu is normally replaced
by one of the presents; but after a period he
returns to direct the operations replacing the
first dancer who entered in his place, with the
formula "fora u primu" (The first off) The
decisions of the mastru d’ abballu are
indisputable and unquestionable.
If the couple is homogeneous (Man +
Man) the aim of the dance is
imposing themselves in the delimited
space.
The adversary, if defeated, returns in
the delimited space and the mastru d’
abballu, takes his place.
In some cases, one of the two
contenders tries to resist stopping
the adversary route and given form
to the so-called "tagghiapassu" with
the skill and speed of the steps.
At this point, the counterparty, unable
to dull, puts in place the so-called
"schermiata" (the duel).
First, the finger is pointed toward the
opponent and then to the sky. (and
this is the signal to start the duel).
The contenders are disposed one
towards another and, with the united
fingers of the right hand
(representing the knife) they mime
one fight. With the left hand, instead,
they distract the opponent and
defend themselves from eventual
blows.
Dance between man and woman? The aim is
the conquest
The man and the woman are
arranged along the edge of the circle
facing one another.
The first movements of the dancers
are slow. The man fixed the woman
to understand if there is the
possibility of courtship;
The woman looks on the ground for
innate sense of decency putting her
hands on her hips with the palms
facing outward. The couple, after
some turns to the outside, tightens
(arrives) at the center. Then the
man's courtship is more insistent; the
woman, puts in act a real defense,
turning on herself or offering herself
always in front of the suitor. In the
end , the dancer lifts the arm and
with the hand put over her head
marks the rhythm with the snap of
her fingers.
U muccaturi (the foulard)
Other times the woman
plays with the adversary
sliding behind the neck
"u muccaturi" waving it
in front of the dancer's.
The sensuality of this
dance reaches its highest
point when the man and
the woman dance
shoulder to shoulder. In
these cases the "mastru
of abballu" intervenes to
separate the couple.
THANKS FOR WATCHING!