The 8th edition of the international festival Adriatico mediterraneo begins in Sarajevo in the sign of the Adriatic-Ionian macro-region.
The Adriatic Sea is back to being, as in the past, a bridge between its banks, a time to connect worlds united politically and culturally, that the great History has separated, but they continue to keep in touch, thanks to all those who believe in the culture as a communication tool aimed at finding the dialogue between peoples.
This year in particular, to organize activities in that area also takes on a symbolic and social meaning. In recent weeks, Bosnia and the surrounding areas have suffered a devastating flood that has caused hundreds of deaths and huge economic damages. So it was decided by all the actors of the event to dedicate to flood victims and to put in place a fundraiser. The day’s program is the result of collaboration between Iai (Adriatic-Ionian initiative), a project adriatic IPA, the cultural association Adriatico Mediterraneo, with the collaboration of various actors in Sarajevo especially the association Komsiluk, all under the patronage of the Italian Embassy in Sarajevo. For the cultural part of the day the Adriatico Mediterraneo Association organize a meeting between cultural operators called “Culture beyond borders” and the show “Sarajevo port with no sea”.
The meeting between Italian and Bosnian cultural operators is aimed to the knowledge and to the exchange of experiences and informations. The goal is to create a network based on common ideas through a preliminary phase of monitoring and comparison assuming a path along the lines and the development of the Adriatic Ionian macro-region can create a permanent cultural exchange.The evening show is a new production that has Italian and Bosnian artists on stage performing together.
Particularly prestigious the presence of Moni Ovadia and Minka Muftic with orchestrina Adriatica. The show is based on stories and popular songs of the Adriatic-Mediterranean area and original compositions by Giovanni Seneca in a balance between folk and popular and between classicism and modernity.
The songs have elements in local languages such as Bulgarian, Serbian, Greek, Ladino, Turkish and various Italian dialects. It is therefore a plurilingual repertoire, in which sometimes one and the same melody accompanying texts in different languages, sometimes the same song consists of verses in various spoken. An example is the song Uskudara or tsura which may be the emblem of this show. Probably belonging to the Sephardic repertoire, is preserved in a range of languages accompanied by the same melody as often happens in the folk tradition. Each national community claims its original creation. The version Bulgarian, Macedonian and Serbian is a love song that speaks of a beautiful woman as an object of universal desire. The Bosnian version accompanied the young people leaving for the war. The version in Judeo-Spanish is a classic “serenade” Sweetheart restless before the closed door of the beloved (very recurrent theme of the repertoire Ladino). In an area of Bulgaria, in the mountains of Strangia, the song was hired as a patriotic anthem of the struggle against the Turks. There is a multilingual version of the song – probably born in the cosmopolitan Alexandria at the turn of the century – in which there are terms in the same stanza Turkish, Italian, French, English and Arabic.
Not only the lyrics are rich in historical and linguistic information that allow us to take advantage of the cultural heritage and the interference of Judaism Balkan, but also the scores illustrate the rich musical traditions, composed of traits Byzantines, Ottomans, Slavs and Greeks. The Balkan musical repertoire is intertwined, especially during the nineteenth century, Western European trends in music. Even in the compositions of Seneca we find references and quotes that come from different geographical areas and music: from the Balkans to southern Italy from baroque music to the dances of Central Europe.
Of particular interest, finally, the organic of orchestrina Adriatica magical instruments abducted by known sites that claim they belong to different peoples and cultures and are reminiscent of the sounds buried in our memory as the three Mediterranean guitars (classical, Italian “battente” and flamenca), numerous percussions (riq, darbuka and frame drums), bass and accordion. These instruments along with the voices are the protagonists of this aesthetic way and accompany the listener on a journey through time and cultures, creating a unique and enveloping soundscape.
The shedule of the Program:
9:00 am Committee of Senior Officials
Attended by representatives of the Ministries of Foreign Affairs of the 8 countries of the Adriatic-Ionian macro-region
11.30 am Strategies for Sustainable Mobility in Social Health in the Adriatic-Ionian macro-region (Project AdriHealthMob)
3 pm Project AdriHealthMob First event of Cross Fertilization.
Promote and improve mobility in the Adriatic-Ionian macro-region in Social Health
3.30 pm Culture beyond borders
In Italian Embassy in Sarajevo. A comparison between cultural operators from Bosnian and from Italy
8 pm “Sarajevo a port without no sea” stories, music and songs
Institute Bosnian Sarajevo, free donation for flood victims
orchestrina Adriatica: Giovanni Seneca classical guitar and Italian “battente”, Francesco Savoretti Mediterranean percussion, Doublebass Gabriele Pesaresi, Roberto Lucanero accordion and melodeon, Antonella vento voice, Alen Abdagic voice With the participation of Moni Ovadia and Minka Muftic.
More information on thefollowing links:
http://www.adriaticomediterraneo.eu/
http://www.bosnjackiinstitut.ba/
http://www.adriaticipacbc.org/
http://www.ambsarajevo.esteri.it
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