September/November 2015 IS

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LORENZA BINIREDEFINES JEWELRY

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Founder andManaging DirectorDaniele Curtodaniele.curto@segmento.com.au

041 8891 285Associate EditorIvano Ercoleeditor@segmento.com.au

Graphic ArtistAurora DelfinoCreative ConsultantImbarani PoonasamyPhotographersPaco Matteo Li Calzi, Daniele Curto.

For features, articles and editorial submissions:segmento@segmento.com.au041 8891 285For advertising equires please contact:marketing@segmento.com.au 041 8891 285

Cover photo creditsPhotographerPaco Matteo Li Calziwww.pacomatteolicalzi.comJewellery by Bini Gallerywww.binigallery.com.au

ContributorsValentina BonattiJohnny Di FrancescoAgata GrimaldiHayley J. EganLaura D’AngeloIlaria GianfagnaArchimede FusilloSalvatore RossanoMarco Maria Cerbo(Consul General of Italy)Matteo PreabiancaIvano ErcoleElizabeth WisserEnrico MasseiGerardo PapaliaNelli Altson

At a recent funeral for a respected elderly family member I got to thinking that as more and more of that wave of Italian post-war migrants die off, our current lifestyle threatens the traditional

view of what it means to be the sons and daughters of Italian immi-grants to Australia. I grew up embraced by and with the traditional aspects of a life influ-enced by life in Italy. My parents frequently visited relatives and friends from their region of Southern Italy. We spent many a Saturday night or Sunday afternoon at cinema’s like Il Metropolitano in Brunswick or Cin-ema Italia in Cliffton Hill, Melbourne, watching Italian language movies or to a live performance by visiting Italian artists like Gianni Morandi. There was an expectation that as a family we would embrace the things that celebrated being Italian. At home we spoke an Italian of sorts, but what was in reality a regional dialect, though we didn’t really know any different. I went to Italian school of a Saturday morning, learning the difference between the Italian of my parent’s village and that of the ac-ademics. It was awkward and often embarrassing trying to bridge this linguistic gulf. But those of my generation thought little of this. Our her-itage was very much Italian, irrespective of the nuances of language. We all had a fundamental lineage to something irrefutably fundamental to our psyche; we were the sons and daughters of Italians and we were proud of this even as we came into our teenage years and started to butt up against the realisation that we were indeed somewhat apart from our Anglo neighbours.Sitting in that church, looking out at the aged faces of the people I had grown up with, it occurred to me that we of my generation are losing the very moorings that anchored us to the past our parents and their gener-ation tried so hard never to forgo completely.As the generation that bred us dies off, as the once youthful family pa-triarchs and matriarchs die, what hole gathers apace that swallows into it the very fabric of those seemingly archaic behaviours and rituals that helped both define who we were and who we’ve become?As we get further and further from that period in our past when our an-cestors stepped onto these shores, the fragments of traditional rituals become tenuous and gossamer thin. What then becomes threatened is the absoluteness of identity, that unshakable certainty that despite everything to the contrary, actually helped shape who we are.In abandoning so much of what made our parents and their generation amongst the most tenacious and hard working of any generation, that spirit of holding on to what they knew while trying to integrate what they saw as necessary to move forward, we have abandoned the very spirit that they embodied, the spirit of resilience. Perhaps as we hurry to move forward and away from the past, we actually rob ourselves of a core part of who we really are.As the children of those migrants who are now in their twilight years, we are the custodians of all their hopes and dreams. It is not that we owe them anything, as much as we need to own what they gave us-from the daggy hand-made clothes to the strange school lunches. The biggest compliment we can pay this fading generation is to own with pride all the cultural and traditional rituals that shaped both us and them in this new country of theirs, Australia.With every passing year less and less of those once youthful voices will be around to remind us of what once was. And with this passing so passes the tangible links to that often foggy past, a past that seems to have less and less space in our frantic lifestyles as we usurp what was once foreign to our parents and adopt it as somehow having always been ours.If there is a border to be crossed between then and now we need to be alert to the fawning voice that deludes us into thinking that only the now has any relevance in our lives, that only the present has any tenure in what we might aspire to achieve. That gap between what was and what is grows apace as each voice is silenced, as each heart is stilled until or-unless we are vigilant, all that will remain is the hollow chorus of their sons and daughters who have used their parents as little more than stepping stones from one world to another rather than as a bridge that spans a lifetime from the village cradle to the city grave.

From the village cradle to

the city grave

EDITORIALARCHIMEDE FUSILLO

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MEDIA PARTNER OF

SEGMENTO MEDIA PARTNER

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CONTENTS

Living La Bella Vitaby Valentina Bonatti

A life changing Tasmanian holiday by Ilaria Gianfagna

Amalsa, Australian visas available to young immigrants

by Enrico Massei and Elizabeth Wisser

Become your own Master Brewer by Home make it

A Future in their Pastby Archimede Fusillo

Soggetti Sonoriby Salvatore Rossano

You “too” Speak Italianby Matteo Preabianca

Ten Years a Strangerby Hayley J.Egan

Australian Diaryby Ivano Ercole

Regulars

FeaturesWhen a cheese that you eat Makes you feel like a king... That’s Amore Cheeseby Nelli Altson

Portrait of a comedian as a young manby Laura D’Angelo

All crazy for Johnnyby Johnny Di Francesco

The Italian lady who has singlehandedly redefined the culture of jewel ornamentsby Laura D’Angelo

The original Italian rotating Pizza Ovenby Marana Forni

WHYSEE2000

EXPO Milan 2015Made of Italians! by Marco Maria Cerbo (Consul General of Italy)

The deceptive use of poignant imagesby Gerardo Papalia

A Festival Showcasing the Bestof the Italian Wine productionby Elaine Bocchini (ICCI)

Eating like our primitive ancestorsby Agata Grimaldi

Segmento Magazine September/November 2015

#WIN A TRIP TO CALABRIA www.segmento.com.au

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Activation Energy

If we want things to change, what we really have to do is to FORCE ourselves to switch from what we are currently doing as auto-pilot to something new, some-thing that will take us outside of our comfort zone and will make us incorporate different options and possibilities in our life. Scientists call this act of forcing, activation energy.

At the end of the day, we don’t know what we don’t know. If we never try, how will we ever know if we liked it or how it is going to change, impact and modify our life…right?

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LIVING LA BELLA VITA

WORDS VALENTINA BONATTI

Do you often feel tired and bored?

Frustrated, stuck and dissatisfied with your daily routine?

Are you often afraid of making the wrong decision about changing some aspects

of your life?

I know this feeling and I can guarantee you that, even though they are not good feelings, there is one fact you need to know about it: whatever

you want to change in your life, you will NEVER feel like doing it. It is NEVER the right time.

Therefore, we will keep doing what we always have been doing to then get the results we always have been getting. And this leads to frustration, dissatisfaction and the feeling that our life is an entire or partial mess that we don’t know how to change.

As a matter of fact the idea of changing is not enough. Even the motivation is not going to be helpful on a long-term basis. We need a strategy, support, persistence and accountability.

Even though I have a 22 day on-line course where I help people with the right strategy to stop messing up their life, I will share with you today 3 tips I believe are important for you to know how to start making some changes.

Know what you want

Often people know more what they don’t want rather that what they want. And the challenge here is to think about what YOU want, not what sounds good to other people or society.

And part of the problem is that we don’t clearly de-cide what it is that we want.

Getting what you want is simple, but not easy. We live in the most amazing time: we can have all the infor-mation to do and become whatever we want to. So, why don’t we have what we want despite having all of this information available?

Because we don’t make a simple and clear decision about what it is we really want.

Break your emergency brake

The 5 seconds ThaT can change our life for The beTTer

Valentina Bonatti is the author of the self-change book “Powerful Change, 12 steps to re-light your Inner Fire” and part of the knowledge in this article comes

from chapter of the book.

For more tips about this topic: vale@livinglabellavita.com.au

Contact www.livinglabellavita.com.au Website www.valentinabonatti.com

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ceive new input and options all the time and we can use them to make some great changes in our life, BUT…. what do we do with that?

NOTHING, absolutely noth-ing most of the time…

It is like we put them in the corner and we don’t even try. WHY?

Because we are scared of making the wrong decision, looking ridiculous, not being good enough… we wait for the perfect moment to arrive, for the perfect feeling to arrive, for the perfect situation to arise.

It is as if we wait all the time not knowing that this is the right moment: when you decide to do it. And the tip is:

you have to make a physical action (write it down, make a phone call, stand up and start doing it…) within 5 seconds of getting the input/idea and forcing yourself to follow this new way of being and doing.

Why within 5 second? Because after that time, the inner emergency bell will start ringing to keep us safe from this new thing we have never done before which is outside what we know, outside our comfort zone. Instead there is no danger, it is simply something new you have to experience to be able to implement, incorporate, and live a new way of being, doing and having.

4 REGULARS

A ball of yarn, a crochet hook and a hat made by hand. On a cold winters day, I am sitting on a wooden chest, touching a soft fabric, observing its pattern and recalling the smell of

my grandmother's kitchen. The scent of the typical Italian dishes that taste like Sunday and cakes prepared with love. When she was young my grandmother learned needlework and I remember her saying to me an old Italian proverb: “impara l’arte e mettila da parte” (Learn a craft and save it for the future). Do not worry about when and how you will use it. Learn it and you'll see that sooner or later it will serve some purpose.

Those were the words that probably Ser Piero told his son Leonardo when he left him when he was still a boy in the workshop of Verroc-chio. Leonardo followed his father's advice. He observed and learned, and eventually became better than his master.

Verrocchio was a highly valued Florentine painter and Leonardo learned from him the craft of painting. He did not become a genius straight away. He went through many years of work and study. Then he saved the craft for the future and went on to learn other things until he painted some of the greatest masterpieces of the Renaissance".

It was Leonardo himself who wrote this words: "All art has to follow a discipline, because those who are just in love with it are like a helms-man sailing without a rudder or a compass and never being sure of where the ship is going"

Learning a craft has recently been revamped with an initiative called “la scuola del fare” (The school of making) launched by the Italian Prime

YOU “TOO” SPEAK ITALIAN

LIKE LEONARDO IN VERROCCHIO’S WORKSHOP

WORDS MATTEO PREABIANCA

Minister, Matteo Renzi. The idea is to encourage children to spend some time in a craftsman's workshops, like it happened in the times of Leonardo. The initiative like the proverb my grandmother taught me is, “impara l'arte e mettila da parte”, and it was first introduced in a school of San Casciano, a little town about 15 kilometers away from Florence. Children spend part of their school hours with carpenters, potters and blacksmiths and learn a craft directly from them, and are apparently enjoying the experience.

Meanwhile, as I am holding in my hand a ball of yarn, I close my eyes and think back of the teachings of my grandmother. I grab a crochet hook and, point after point, I knit a soft scarf. As a child, sitting on the floor of a kitchen with its walls covered with an orange-coloured wallpaper, I learnt the craft of knitting and I'm surprised that I haven't forgotten it. I won't make a living out of it but it will certainly keep my neck warm in this freezing winter.

mteachesitalianwww.matteoteachesitalian.com

www.languageretreats.tk

REGULARS 5

The words of America’s notorious chef could not sound more true in describing Giorgio Linguanti, Melbourne’s premier specialty cheese maker and proprietor of That’s Amore

Cheese, That’s Amore Mozzarella Bar & La Latteria.

The native Sicilian arrived in Australia over ten years ago without speaking a word of English and without knowing anything about cheese making. How then, you ask, did he get involved in making cheese for a living?

In late 2007, Giorgio took a job as a factory worker in a large cheese factory. He became fascinated with the cheese making process and asked his brother in Italy to send him a book on how to make cheese. He rented a tiny room in the cheese factory and was arms deep in the arts of cheese crafting; making mozzarella, ricotta amongst others. “My tools were a small pan and bucket using 250 litres of milk per week. I was self-taught then, often experimenting with milk and rennet, wiring the dough in differ-ent ways. I was looking for new solutions and new products,” Giorgio says. He offered his limited production to Melbourne’s Italian restaurants and was overwhelmed by the positive feed-back. Not long after, in 2008, he founded That’s Amore Cheese.

What started as a one-man show with a bucket and a pan is now a dedicated team of forty-two staff in the new That’s Amore’s Cheese factory in Thomastown. Giorgio and his team specialize in producing close to thirty different cheeses that are unique to Italy. These include varieties such as the Diavoletti, Bocconcini Leaf, Burrata, Caciocavallo, Squacquerone, and Buffalo Mozzarella to name a few Giorgio has successfully introduced to the Australian market. “One very important thing is that every single one of our products has different and unusual flavours,” Giorgio highlights. That’s Amore Cheese products are distributed to specialty food stores, delicatessens and restaurants, and tours the continent at food festivals and competitions.

On the home turf, Giorgio’s La Latteria is gaining ground as Mel-bourne’s best cheese shop. Countless online city guides and food magazines, such as the Broadsheet, the Urbanlist and TimeOut Melbourne, all list in their reviews La Latteria’s as the city’s best cheeses.

Located in Carlton, La Latteria is an integral member to the artisan food scene in Little Italy. The little shop is located on Elgin St., between the main thoroughfares of Lygon St. and Nicholson

WORDS NELLI ALTSONPHOTOS SILVIA ZANON

“You have to be a romantic to invest yourself, your money, and your time in cheese.”

Anthony Bourdain in Medium Raw

When a cheese that you eat makes you feel like a king...

That’s Amore Cheese!

Giorgio Linguanti. HiSylvia Photography.

6 FOOD&WINE

St, meaning people have to get off the main roads to specifically seek this treasure cove of specialty cheeses. “Customers here know the taste of artisan food and they come here to find that top

quality product,” store manager, Katia, says, guaranteeing that the delicatessen is worth the mission for any

cheese lovers.

At high noon on a rainy Friday, an array of customers paced its glossy pol-ished floors ordering amongst a vast selection of cheeses, coupling it with dried cured meats, fresh bread loaves from Vincenzo Bakery and house-made

desserts. This wasn’t your regular lunchtime crowd, these were people with

refined palates looking to perfect their meals with a choice cheese pairing.

As expected, the most popular cheese ordered was the mozzarella. The milky-white plump globes of cheese are handmade in the shop, the shine on its smooth surface reflecting its immediate freshness. Each morning, the mozzarella is hand stretched and hand cut in the Italian tradition, rendering the cheese into a dumpling-shape with incisions to show where the cut was made. “Hygiene, good ingredients, care and love. You can’t negotiate on these four elements if quality is your ultimate goal,” Giorgio stands firm by his principles.

“I became a casaro (cheese maker) for the love of creating almost an unlimited number of products from just one ingredi-ent, the milk. Furthermore, preservative-free, is a paramount of our philosophy” Giorgio explains his passion. He and his staff appear intent on bringing everyone on board with specialty Italian cheeses.

The Australian Dairy Industry has recently observed a trend away from bulky cheese’s and towards specialty cheeses. Giorgio is a steward for this movement. By providing locally made premi-um products, he ensures that Australians won’t have to rely on imported goods.

Another one of Giorgio’s great achievements is the creation of the That’s Amore’s Factory Outlet in Thomastown, which opened the 27th of August 2015. A modern and spacious shop where you’ll be able to tantalise your taste buds with palatable lunches, and sample freshly made cheese (manufactured by Giorgio’s as well as local and imported cheese), high quality prosciutti and many kinds of cured meats.

Cheese is displayed with their texture, odours and flavours… once inside the room our senses are fully engaged. However, as Giorgio has taught us, the journey at the That’s Amore’s Factory Outlet goes beyond a sensory experience; it offers, in fact, the opportunity to purchase these delicacies at competitive prices directly from the outlet.

At the “L’Angolo della Nonna” (Nonna’s corner) gourmet chefs are busy preparing hot dishes to try on the spot or take away.

In addition a new and original concept called That's Amore Moz-zarella Bar serves the most representative and iconic products of Giorgio’s brand; Caprese Skewers, Buffalo Prosciutto, Fiore di Burrata Sandwiches and Cannoli with Ricotta.

As the factory and La Latteria, That’s Amore Mozzarella Bar also responds to Giorgio’s severe philosophy of freshness, pre-servative-free. Paraphrasing the text of the song he chose as the name of its factory, he can proudly sing: “When a cheese that you eat / Makes you feel like a king, That's Amore Cheese!”

“Hygiene, good ingredients, care and love. You can’t negotiate on these four ele-ments if quality is your ultimate goal.

Giorgio Linguanti

Melbourne-based That’s Amore Cheese

has been awarded Champion of the

Flavoured Cheese category for 2014.

While for two consecutive years

since 2012 it has been named

Champion for its Burrata, this

delicious cheese comprises

stretched mozzarella sheets

forming a sac enclosing a

soft, buttery centre made from

fresh cream and shredded

pieces of mozzarella. - Dairy Australia

Judges’ Comments: Delicate, soft

silky curds with a delightful, fresh creamy

filling. The combination of fine fibres and the

sweetest of fresh cream makes this an outstanding

product. Handcrafted to perfection.

2014 Champion Flavoured Cheese

Diavoletti

Grand Dairy Awards

2013 Champion Fresh Unripened Cheese

Burrata

Grand Dairy Awards

2012 Champion Fresh Unripened Cheese

Burrata

Grand Dairy Awards

AWARDS

nellyaltson@gmail.comwww.galeriadenomad.com

Giorgio's new cheese factory in Thomastown. HySylvia Photography.FOOD&WINE 7

Wine tastingMasterclassesLive demosPizza & pastaInternational sommeliers

Tickets online at gustoitaliano.italcham.com.au/vinitalia2015

Wine list review Exclusive labelsItalian jazzDesign displayTaste & buyItalian “Apericena”

VinItalia is an event created and organised by ICCI Melbourne. For more info: ph. 03 8341 3200 - info@italcham.com.au - www.italcham.com.au

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Sunday 11 OctoberRoyal Exhibition Building Melbourne

10am - 7pm Festival & tastings 7pm - 9pm Italian “Apericena”

Donot

missout

A Festival Showcasing the Best of the Italian Wine production

For the first time fully open to the public, this unique festival will feature a special selection of

premium Italian wines presented by local importers and retailers. More than 40 companies - conversant in their understanding and passionate about sharing a taste of the prod-ucts they love - are expected to be there to offer their most prestigious Italian labels to taste and buy. Amongst these, a special “Antep-rime” zone where you’ll be able to try and preview labels and varieties not yet available in Australia. Selections of premium spirits, liqueurs, grappa and artisanal beer will all be includ-ed, accompanied by delicious Italian food.

A WORD FROM THE WISEIcons of Melbourne’s restaurant scene will bestow words of wisdom and conduct live demonstrations in the Italian Lifestyle Theatre, alternated with live jazz and swing performed by Italian virtuoso Mirko Guerrini, who recently performed at the Melbourne International Jazz Festival alongside Stefano Bollani.

ENRICH YOUR KNOWLEDGEA series of master classes present-ed by international experts, repre-senting the most prestigious Italian sommelier associations from Italy (AIS - Associazione Italiana Somme-lier) and Australia (ANZIS – Austra-lia New Zealand Italian Sommeliers), will complement the already brim-ming program of activities sched-uled on the show floor. Your chance to enrich your knowledge and be guided by leading experts.

WINE LIST COMPETITIONVinitalia will also draw attention to the finely crafted wine lists from Melbourne’s top restaurants through its inaugural Wine List Review. A specialist panel composed of re-nowned Italian and Australian wine experts will review and award lists submitted by participating restau-rants based on a range of different criteria to suit even the most dis-cerning palate. For those working in hospitality, it’s an unmissable chance to hear expert opinions and swap notes on developing your se-lections. It is also a great occasion to source new wines to add to your list and set your restaurant apart.

FOR THE WINE TRADEVinItalia is a great opportunity to meet and connect with leading members of the hospitality industry and build new professional relation-ships. In recent years Australian consumers have shown a growing desire for Italian wines, illustrated by the value of Italian wine imported into Australia has been rising by about 21% p.a since 2011 (Austra-lian Bureau of Statistics, 2014).

THE BREATHTAKING ROYAL EXHIBITION Building will provide the sophisticated backdrop for this enticing food and wine opera, presenting guests with a visual feast as you weave your way through tables of over 400 premium wine labels and delicious and authentic gourmet food, whilst you let your-self be transported by Mirko’s jazz tunes. The day promises to be a real experience, rewarding the palate and evoking emotions with its casual mix of refined flavours and dynamic notes… and an unexpected finale.

On October 11, the Melbourne Royal Exhibition Building will host the Vinitalia Food & Wine Festival, the largest display of Italian wines ever held in Austra-

lia. Organised by the Italian Chamber of Commerce, all of Melbourne is invited to join the celebration, to be indulged and enlightened by Italian food and

wine, with a sophisticated twist of Italian jazz.

GUSTO ITALIANO

WORDS ELAINE BOCCHINI (ICCI)

FOOD&WINE 9

BECOME your own

MASTER BREWER

WORDS AND PHOTOS HOME MAKE IT

RECIPE SUMMARYTo make a 23 litre batch you will need:

3kg Joe White Ale malt1kg Gladfield manuka smoked malt

500g Gladfield toffee malt500g Joe White Chocolate malt

500g Munich malt

Single temperature mash at 66°C for an hour

1 Hour boil

Whirfloc fining for the last 10 minutes of boil

20g Summit hops for 60 minutes30g Cascade hops for 30 minutes

30g Cascade hops at flameout30g Amarillo dry hop for 3 days

Original gravity reading approx. 1050For many years Home Make It has assisted the Italian community with their efforts of producing homemade wines and salami and have recently seen an insur-

gence of these families now bringing the brewery to their backyards and making home brews as well. Not surprising really, as the ever-growing thirst for home brews and craft beers is also reflected in the craft beer industries, especially in Australia and Italy. Recent reports predict that the devel-opment of microbreweries will continue to see growth, as a result of consumers persistently seeking unique flavours, premium styles and diverse beer drinking experiences.

Coinciding with the craft beer mania is the pairing of beer with food, which is also becoming increasingly popular. With so many great craft beers and variety of beer styles available it’s very enticing to try them together. It has also been suggested that beer may in fact be more food-friendly than wine, due to the infinite possibilities for flavour variety and matching. We are even noticing beer become part of menus in popular venues. As always the food pairing theory may need to be left up to individuals to test for themselves according to personal tastes.

So for those who have ever been tempted to have a go at becoming their own ‘master brewer’ and feel inspired to dabble with different flavours and methods of beer making, there has never been a better time to get involved. Home Make It brewing specialist Cade Butler aims to demystify the beer making process and expresses just how easy is to set up a backyard home brew kit and be brewing your own preservative free, quality and exotic flavoured beers in no-time.

For those relatively new to brewing we recommend start-ing off with Home Make It Beer Kits and vast array of Beer Recipe Kits. These come complete with all the equipment and ingredients required as well as easy to follow step-by-step manuals.

For the those wanting to develop their brew-ing skills further and ready to experiment with grains visit the friendly staff at Home Make It and check out the vast array of brew-ing equipment and ingredients available to get you started and on your way to brewing up a storm!

10 REGULARS

Clayton Store: (03) 9574 8222Reservoir Store: (03) 9460 2777

info@homemakeit.com.au

www.homemakeit.com.au

PROCEDUREHeat 30 litres of water to 70°C in your mash vessel.

Mix in milled grain in to the strike water, making sure there are no dry lumps of grain. The grain should have brought the water temperature down to approx. 66°C. Try and maintain this temperature for an hour, stirring occasionally. Then, increase temperature to 74°C for 10 minutes to stop the conversion process.

Then start draining your liquid into your boil kettle through your false bottom (the large stainless steel filter on the bottom of your mash vessel that keeps your grain and water separate), pour approx. 5 litres of 74°C water over the grain while it’s draining to wash any excess sugars off the grain. Turn off the tap once your boil kettle hits approx. 34 litres.

Turn your boil kettle up and once it’s got a nice rolling boil, add the first hop, 20g of Summit. After another 30 minutes add 30g of Cascade hops. 20 minutes later, add some kettle fining. Then 10 minutes later add another 30g of Cascade hops and stop the boil.

Cool your wort down to 24°C using whatever means you have (an ice bath, immersion chiller or no-chill cube) and pitch your yeast.

Ferment at between 18-20°C for a week and a half, then add 30g of Amarillo hops to the fermenter for 3 days.

Then take your gravity reading and bottle or keg when the final reading is approx. 1010-1015.

Looking for something special to pair perfectly with your homemade salami? Give this popular, dark and slightly smokey Fireplace dark ale brew recipe a go.

Contact the Home Make It team for further information or assistance with this process and recipe.

ENJOY WITH FAMILY AND FRIENDS!

FIREPLACE DARK ALE

REGULARS 11

Have you ever thought of wearing a necklace made from blown glass bubbles? Or some colorful autumn blooms as earrings? Probably not, unless you possess

a highly artistic mind, or you have visited the Bini Gallery.

Lorenza Bini, the owner, is an elegant and enterprising lady who has redefined the idea of jewellery in unexpected and innovative ways. One has only to spend a couple of minutes, surfing on the Internet or visiting her boutique in Collingwood, to discover the special and unique spot that Lorenza has been running for the last five years, her Bini Gallery: a place of sim-ple beauty where jewellery is the key player.

Lorenza’s mission may be described as showing how the boundaries of jewellery can be pushed, while ensuring the individual pieces remain wearable and stylish.

Educated in the History of Art back in Italy, Lorenza is driven by a strong passion for her profession, in all its stages. In her Gallery, she gently guides her customers through the selection

process, explaining her choice of pieces handcrafted by Aus-tralian and International artisans. “Quality, originality, design, research, creativity, wearability, attention to detail: these are the keywords, the common denominators that I look for in all my collections”, she stresses.

The use of unusual materials is another important aspect governing Lorenza’s selection process. Her collection includes works in glass, ceramic, vinyl, lace, silk, aluminum, fabric, laminated petals and flowers, wood and leather. As a result, Lorenza’s careful choice of jewellery can sometimes be both unconventional and unexpected.

“It is a delicate balance where only talented designers can use different materials to create, through high quality crafts-manship and sometimes ultra contemporary technologies, pieces which are as wearable as distinctive.”

But Lorenza’s interest also focuses on gold and silver: “Since a special encounter occurred three years ago in Melbourne

THE ITALIAN LADY who has singlehandedly redefined the culture of JEWEL ORNAMENTS

WORDS LAURA D’ANGELOPHOTOS PACO MATTEO LI CALZI

12 DESIGN

Lorenza Bini at her Bini Gallery in Collingwood

with Alberta Vita, member of the Contemporary Jewellery School of Padua, I have been exposing a more precious collection. Later on I’ve started a partnership with Giampaolo Babetto, the most important and known Italian designer of contemporary jewellery and teacher at the School of Padua. Some of his pieces are exposed now at the Museums of Canberra and Perth.”

The Bini Gallery wants to be a dynamic space keen to in-troduce, every month, the works of a new designer, through a specific and open event “A moment I like to celebrate with a drink”, she says. “In addition to that, I am planning to organize one off events, thematic or solo exhibitions, where jewellery can meet other kinds of artwork although the focus would remain on it”, she reveals. “In Italy I used to work for an important photography gallery in Milan, Photology, so it was easy to start with a photography exposition. I think in that particular case the photos complemented the jewellery well.”

Besides the existence in Melbourne of an excellent school of contemporary jewellery, a special place in store is dedicated to Italian designers. “Elena Valenti, Veronica Guiduzzi, Chiara Scarpitti and the Sent sisters are some of the Italian artists with whom I’ve started this Australian adventure”, Lorenza says. “I really appreciate their collaboration. To me the Italian style is the capability and the knowledge, achieved in centuries, to create the perfect synthesis of classic and contemporary elements.”

As Lorenza explains, jewellery, even if it is a ‘niche’ sector, represents part of the Italian culture and this is the reason why she is so eager to support some of the little known designers that are unfortunately struggling back in Italy. “Sustaining inde-pendent, skilled jewellery makers matters to me and much more could be done to support them. It should be a must to preserve and keep alive our artisan know-how and traditions”, Lorenza says.

Although the jewellery exposed at the Gallery could be a bit unusual Down Under, Australians really seem to appreciate it. “They love our ability to combine wonderfully creative Italian classic and contemporary styles, like using a mix of textiles and ceramic, and of course our huge artistic craftsmanship.”

But what is the target at Bini Gallery? “I have a quite wide range of customers like women between 30 and 70 years old. Designers and architects are my best customers but also women looking for different, not commercial, but classy, afforda- ble, wearable jewellery, made with care in limited numbers”, she says and adds: “Considering that glob- alization homogenizes everything, I am interested in working with small brands or sole traders to support unique creativity and skills. That is another goal.”

You would easily think that this kind of jewellery is expensive but this is not necessarily true. As a matter of fact at Bini Gallery it is possible to find a wide range of prices, attractive to heterogene-ous audiences, never forgetting the uniqueness of every single piece.

“The magic to create something beautiful by using simple materials, a balanced, elegant and timeless design able to be playful and innovative” says Lorenza and her words echo like an invite to experience beauty in a different way.

“To me the Italian style is the capability and the knowledge, achieved in centuries, to create the perfect syn-

thesis of classic and contemporary elements.”

Lorenza Bini

lauramartina.dangelo@yahoo.it www.thealrightplace.wordpress.com

Lorenza Bini's jewel creations on display at Bini Gallery.

DESIGN 13

WORDS MARCO MARIA CERBO(Consul General of Italy)

PHOTOS EDOARDO CAMPANALE

Unique promotions for exhibits, cultural events, train and plane tickets: these are only some

of the advantages that Milan Expo 2015 has prepared for the Italians living abroad and for all the foreign citizens of Italian origin that will sign up to the “Made of Italians” project.

With this special program, Milan Expo 2015 wants to welcome Ital-ians living abroad in a unique way, offering them an exciting occasion to return to the places of origin, to know and rediscover their own coun-try. The aim is to call back about one million compatriots living abroad or of Italian origin in occasion of the biggest world event about nutrition.

To sign up to “Made of Italians” you need to register on the website www.madeofitaliansexpo2015.org

you will receive a discount code for the purchase of the Expo Milano 2015 ticket that will automatically activate the pass.

Signing up to “Made of Italians”

you will get an electron-ic voucher that, against

the purchase with 25% discount of the

entrance ticket to the Universal Exposition,

gives right to a number of benefits and promo-tions on train and plane tickets, hotels, restau-

rants, exhibits and shows and on some

services of the Expo Mi-lano 2015 Partners (Fiat

Chrysler Automobiles, Telecom Italia, Intesa Sanpaolo, Illy). This

allows the access to dif-ferent activities inside

the Exposition Site.

IN PARTICULAR:Etihad Airways will offer travelers to Italy fantastic deals on flights from Asia, Australia and Middle East

Alitalia will provide special discounts on its do-mestic network and a number of benefits linked to the program “Vivi l’Italia”

Special Trenitalia rates throughout the entire national rail system with high speed trains

Special accommodation fares in Milan, in some cities of Lombardy and in the biggest Italians cities

Telecom Italia special communication offers

10% discount to be used at Illyshop in Milan for coffee products and machines

50% discount on payment cards Intesa Sanpaolo customized with your picture

Free/reduced admission to selected museum in Milan and in the main cities of Italy

Restaurant and shopping discounts

Special rental rates on Fiat-Chrysler Automobiles models

20% discount on supercar test drives in the Au-todromo di Monza, provided by Puresport

Discount on dedicated services on the Exposition Site: fast track, tastings, personalized tours and guided visits

A special welcome at Expo Milano 2015 and the Italian Pavilion

14

A Destination You’ll Love to Discover

Bini GalleryContemporary Jewellery

62 Smith Street, Collingwood Vic 3066Tel. 03 9486 0145

www.binigallery.com.au

Gallery

From our Migration Practioner’s Desk ElizabEth WissEr

AMALSA MAKES THE LAW WORK FOR YOU

AUSTRALIAN VISAS AVAILABLE TO YOUNG IMMIGRANTS

WORDS ENRICO MASSEI & ELIZABETH WISSER

The ongoing economic uncertainty and subsequent lack of employ-ment opportunities which various

developed nations are currently facing has impacted on the decision of nu-merous young people to travel outside their country of origin in search of new opportunities.

Australia's stable economic and low unemployment rate allures the majority of people aged 18 to 35 to our shores.

Factors, which usually lead them to this country are directly linked to a de-

sire for self-determination and the ability to put into practice skills, which have been acquired.

Australia granted Visas to more than 20,000 young Italians in the biennium 2012-2014, a record that the last 2 years consistently exceeded the percentage of Italians who immigrated to Australia in 1950-1951.

While the first migration occurred mostly at the end of the Second World War and consisted largely of laborers that Australia needed at that time, of

which Australia still required, now the new streams have very different charac-teristics and are managed differently in the market.

Nowadays immigration rules do not always make it easier to stay in the territory of Australia, especially for those who intend to settle permanently.

Besides, different types of visas will also vary depending on the reasons or needs that motivate young people to travel to Australia.

THE MOST COMMON VISAS INCLUDE:1 Tourist Visa Subclass 600A temporary visa that allows a maximum stay of up to three months, and meets social rea-sons, leisure or recreation.

2 Working Holiday VisaSubclass 417Used by those aged between 18 and 30 as the initial stage for a longer stay. 16,045 working holiday visas granted to Italian citizens in 2013-2014. An increase of 77.5% the number of the second working holiday visa.

3 Student Visa Subclasses570, 571, 572, 573, 574 Frequently used by interna-tionals invited by education institutions be able to attend a course or school, allowing to remain in Australia for the duration of the course, with the permission to work up to a maximum of 20 hours per week.

BUT WHAT AFTER THAT? The Department of

Immigration provides a type of visa that responds to the specific needs of those who do training in a

specific area, or carry out scientific research in Australia.

Training and Research Visa (subclass 402)

WHAT IS IT? WHO’S THIS VISA USEFUL FOR?

Our Migration Practitioner and Expert, Elizabeth Wisser will explain

the basic criteria as follows.

The 402 (Training and

Research) visa allows Austra-

lian organisations to sponsor

people who want to come to

Australia on a temporary basis to

undertake occupational training,

conduct or observe research as a

visiting academic or participate

in a professional development

program. The 402 visa is not a

work visa; therefore this is not

an appropriate visa for people

whose sole intention is to un-

dertake work on a full-time or a

part-time basis. It allows you to

live and work in Australia for a

maximum of two years, and can

be renewed.However, the exact period will

be determined by reference to

the stream under which the ap-

plicant is applying and the period

of stay required for the applicant

to complete their proposed work

based training or activity in Aus-

tralia, as specified in their visa

application.

enquiry@amalsa.com.auWWW.AMALSA.COM.AU

LL.B, GDLP, Registered Migration Agent MARN: 0959122

16 REGULARS

1 OCCUPATIONAL TRAINEE STREAM Occupational Trainee stream is for people who want to improve their oc-cupational skills (including the field of sport) through participation in work-place-based training in Australia with an Australian organisation, government agency or foreign government agency, including:

Training in the workplace that is required to obtain registration to be employed in the occupation of the visa applicant.

A structured workplace training program tailored to enhance the existing skills of the visa applicant in an eligible occupation.

A structured workplace-based training program that promotes capacity building overseas.

This type of training is not appropri-ate for training that is primarily academ-ic in nature.

2 RESEARCH STREAMObserve or participate in an established Australian research project at an Austra-lian tertiary or research institution.

To be eligible for this stream applicant must:

Be sponsored by an Australian tertia-ry or research institution for this visa.

Be employed or have formerly been employed as an academic at a tertiary or research institution outside Australia and hold or have held a senior academic title.

Have qualifications and experience for the position.

Have evidence of their record of achievement in the field of research.

Intend to observe or participate in an established research project in collabo-ration with other academics at the spon-soring Australian tertiary or research institution and;

Will not receive a salary, scholarship or allowance from the sponsoring insti-tution, other than an allowance towards living expenses in Australian and travel costs. To determine whether the level of the proposed allowance towards living expenses is appropriate, the level of salary being received from the home

3 PROFESSIONAL DEVELOPMENT STREAM Professional Development stream is for Australian organisations and govern-ment agencies, to bring to Australia groups of professionals, managers or government officials from overseas to enhance their professional or manage-rial skills, by undertaking professional development training that is at least 55% classroom-based rather than work-place-based. Those who:

Are employed or invited by an over-seas employer that is party to a Profes-sional Development Agreement with an Australian organisation.

Have managerial or other profes-sional skills relevant to a Professional Development Program formulated by the parties to the Professional Development Agreement.

Are sponsored by an Australian organisation that is a Professional De-velopment Sponsor.

institution and the base level of salary for academic staff at the Australian insti-tution is taken into consideration. Subclass 402 provides for

three streams of entry:

REGULARS 17

RECIPE JOHNNY DI FRANCESCOPHOTOGRAPHER DANIELE CURTO

ALL CRAZY FOR JOHNNY

RECIPEPIZZA DOUGH

INGREDIENTS

1kg "00" flour sieved

30 g fine sea salt

600 ml water

1 - 3 g Fresh yeast 

METHOD

In a bowl combine water and salt and allow to

dissolve. Add 10% of the flour and mix well; add

more flour and the yeast. Continue to add the

remaining flour and mix well until combined. Turn

dough onto a lightly floured surface. Knead until

smooth and elastic. This can take up to 10 min.

Place the dough into a lightly floured bowl, cover

with a damp cloth and set aside. Let the

dough rest for half an hour and then divide

into 4-5 round balls. Cover with a damp tea

towel and allow the dough balls to rise. This

can take up to 10 - 12 hrs.

Once the dough has doubled in size place

on a lightly floured bench, stretch the dough

by hand.

SMOKED SALMON PIZZA

INGREDIENTS

220 g Pizza Dough

60 g Fior di latte

50 g smoked salmon sliced thin

Drizzle Olive Oil

Salt to taste

METHOD

Stretch the pizza dough into a round disk. Top pizza with Fior di latte, drizzle some extra virgin olive oil and

place in the oven.

Once cooked, top with smoked salmon, cherry tomato, the Stracciatella and fresh basil.

BAKE AT 280C FOR 10 MIN (Domestic Oven) or

90 SECONDS AT 400C (Woodfire Oven)

5 Cherry tomatoes cut in half

50 g Stracciatella

6 Fresh basil leaves

OR1.7 kg Flour

50 g fine sea salt

SmokedSalmon

Pizza

FOOD&WINE 19

Marana Forni Ovens are Made in Italy to the high-est of standards, from de-

sign to craftsmanship production of every single part.

The self rotating function cre-ates a fast, evenly cooked pizza every time regardless of the user.

Marana Forni Ovens are cur-rently cooking great pizzas in over 60 countries around the world!

Marana Forni is the Official Technical Supplier of the Piz-za World Championships. Every year, Marana Forni ovens are used by all the competitors!

Great “Pizza Napoletana STG” are cooked as well as all the other

Marana Forni ovens are sold in more than 60 countries worldwide.

In 2013 Marana Forni decided to in-vest in the Australian and New Zea-land markets and has since opened a head office in Melbourne to cen-tralize the company's physical pres-ence in both territories.

Their service offers existing and future customers a 360° service in sales and after sales assistance.

www.maranaforni.net.au

For further information please contact:Mr. Corrado Passilongo

sales@maranaforni.net.au+61 (0)497583212

category pizzas included in the fa-mous race.

On June 27, 2015, in Chiasso (Switzerland), Marana Forni ov-ens were used by 30 Neapolitan Pizzaioli to cook ”Pizza Napole-tana STG” and to achieve a new Guiness World Record for “The most pizzas made in 12 hours by a team”.

The Team Captain was Attilio Albachiara, 2015 World Champi-on of Pizza NAPOLETANA STG.

THE ORIGINAL ITALIAN ROTATING

PIZZA OVEN

WORDS AND PHOTOS MARANA FORNI

Marana Forni quality

see Official Listing

20

www.romadeli.com.au

Address 32 Gladstone Rd, Dandenong VIC 3175Phone (03) 9794 9692

TUSCAN CAFE' & RESTAURANT

Open for breakfast and lunch 6:30am to 5pm Dinner for bookings of ten or more people

Friday and Saturday Aperitivo 5pm to 7:30pm

636a Glenferrie Rd, Hawthorn, VIC 3122

The heart and soul of a timeless lifestyle

C

M

Y

CM

MY

CY

CMY

K

Fila Half Page Advertisment 9.10.2014.pdf 1 9/10/2014 1:10:07 PM

EATING LIKE OUR

PRIMITIVE ANCESTORS

The ever-growing preoccupation with finding a diet for a fit, long and healthy lifestyle has convinced

some people of eating like our Palae-olithic ancestors. It is called Paleo or Primal diet and it is essentially a hunter and gatherer diet based on animal pro-teins (meats and fish) and their products (eggs, honey, etc.), vegetables, fruits, seeds and nuts. According to the Paleo enthusiasts, by removing everything else from the table, the possibility of con-tracting any disease or ailment will be significantly reduced or eliminated.

So, apparently since our ancestors introduced planting and farming 10,000 years ago, we started ruining our health. While it is true that in the last 50 years, chronic diseases have risen, especially in industrialised countries, the remov-al from our diet of dairy, grains and

legumes which are essential compo-nents of the Italian cuisine, seems a bit extreme. In fact, so far there is no evidence of a correlation between dairy, grains and legumes and ill health. On the contrary, grains, and legumes in particu-lar, improve blood lipids, blood glucose control, and reduce the risk of stroke and heart diseases.

Of course, there are exceptions, such as the minor portion of the popula-tion that suffer from celiac disease, a reaction to gluten, a component of most grains. Other people struggle with dairy as well as with super foods such as kale! Every food has anti-nutrients, including super food such as spinach and cacao. We did not become the dominant spe-cies of the planet by acting as a fussy and delicate flower. Our body is able to produce the necessary enzymes to

WORDS AGATA GRIMALDI

break down and digest almost anything. Could it be that today’s food related health problems are linked with overeat-ing and eating refined foods instead?

The positive note of the Paleo diet is that it emphasises the importance of eating whole food and grass-fed meat, while eliminating refined and highly processed food. But I am sure we can still look good and feel great if once in a while we enjoy a glass of Sangiovese, a Tuscan bean soup or a pizza with buffalo mozzarella.

agata.grimaldi08

aurora delfino

Visual Artist and Graphic Designer

LET IT BE.

0479 113 103aurora.delfino@gmail.com

He was just planning a holiday in Tasmania. Why Tasma-nia? Because it looked exotic and was so far away. He would never have imagined that a simple trip would turn

into a life changing experience and finally into permanent res-idency in Australia. Especially considering that he really loved Italy, not only because his family and friends lived there and it’s such a beautiful country, but also because Italian cuisine is the one cuisine all chefs would like to master.

Oreste Natale, born 1982 in Monza (very close to Milan), left Italy in 2008, with the idea of exploring Tasmania and traveling around Australia, on a working holiday visa. “I always had this dream of traveling and working in as many places as possible, he says, and this is the reason why I have studied to become a professional chef. You can pack your knowledge and experi-ence and cook anywhere and learn from every different culture in the world”.

He started working at a catering company in Melbourne – a job that would change his life forever. “I was working on a casual basis, he tells and then when my visa expired I went back to Italy, but I couldn’t stop thinking about my life in Aus-tralia, so I sold all my personal belongings: my scooter, my ra-dio and everything I owned and I bought a ticket to Melbourne. I said to my mum: I am sorry, but I have to go”.

At first, Oreste decided to apply for a student visa to im-prove his english and work part time. “When I returned to

A LIFE CHANGINGTASMANIAN

HOLIDAY“I sold all my personal be-longings (...) and I bought

a ticket to Melbourne. I said to my mum: I am sorry, but I have to go.

Oreste Natale

Australia, he explains, my previous employers were looking for a chef and so when they offered me a job I didn’t think about it twice”. After a while, John Achkar and Moses Elasmar owners of the B2 Cafè in Port Melbourne, offered Oreste the opportuni-ty to be sponsored, which meant hiring him in order to obtain a temporary visa to work full time. After 2 years of work, Oreste was able to apply for the Permanent Residency.

“Do you know how many people I have seen in these years coming and going, hundreds! For this reason it is also to very difficult to have friends and long standing relationships, he explains, but apart from that, I am happy being here. Australia gives you the opportunity not only to have a dream, but also to make it a reality. You are so far away from home and you have to learn to do it on your own. You always have to prove who you are and what you can do. Here there is a lot a competition: everyone wants to migrate to Australia, but it is very difficult to obtain a permanent visa. So it’s a continuous challenge and you always have to be at your best, otherwise someone else will take you place, but all these efforts are worth it, because in Australia there is meritocracy and you finally feel like you can be yourself without prejudices or limits”.

WORDS ILARIA GIANFAGNA

www.justaustralia.it

MEDIA PARTNER OF

REGULARS 23

Portrait of a Comedian as a

Young Man

James Liotta is a young Australian-Italian actor, performer and comedian that had drawn from his Italian heritage the tools of his trade.

He had his first experience on stage when he was 8 years old taking part in one of his father's community theatre productions and grew up refining his acting skills, however his professional career as a comedian started as a result of a friend's suggestion.

“A friend of mine asked me to perform a solo about the Italian way of life and people liked it!” he reveals.

“I started to write more and more stand-up comedies about my Italian heritage picking on my parents and my nonni: their struggles, the language barriers, all topics many people can relate to”, especially thanks to the heterogeneity of the Australian audience.

His jokes and gags come from real life situations.

“When you do stand-up comedies it doesn't matter what you are talking about but it's always going to work if you talk about something that you know or have experienced”, says James. “I take my life as inspiration and look at the funny side of it to create stories.”

Australians look at Italians and they are blown away by how big and fun everything is, and this inevitably leads to the use and representation of some of the most common Italian stereotypes.

“Comedy needs stereotypes which must be exaggerated to make people laugh. It's a theatre and you have to provide a bit of drama.”

Among them the pinnacle is represented by the “nonni”, who are the stronger and more incorruptible figures of the Italian tradition. “They are the oldest, the ones that speak less English, the ones that invent funny words mixing dialect, Italian and English, they keep the traditions alive. They are also the most honest ones, they don't care about people's reaction, they just tell you the truth.”

James is still young and believes he is very lucky to make a living as an actor and a comedian. The gratification of seeing people having fun, even if just for an hour or two and leaving people with a happy experience is something to be proud of.

WORDS LAURA D’ANGELO PHOTOS DANIELE CURTO

lauramartina.dangelo@yahoo.it www.thealrightplace.wordpress.com

James Liotta24

SOGGETTI SONORI

THE SOUND OF THE HARP TO THE RHYTHM OF SCISSORS

santataranta@gmail.comwww.salvatorerossano.com

I met Davide by chance, two years ago. I had just arrived in Australia and was trying to find musicians for the collaboration that

would become ‘Santa Taranta’, the band that brought the Italian folk revival to Australia. My search started online, and one day I came across an ad on gumtree that stated, “I offer lessons of diatonic accordion, bagpipe, and harp”. I called the number immediately, know-ing that I’d found the first of my future band members. The phone call confirmed that he was, of course, Italian, and from the south like me. At that time I’d yet to discover the quali-ty of his musicianship and the warmth of his personality.

When we eventually met in person I found out that Davide was proudly continuing the tradition of the small diatonic harp, unique to Italy, L’arpicedda. This instrument was used by many musicians from Viggiano, and they travelled the world for over a century begin-ning in the 1800’s, performing in public places or busking, as we would call it today.

The instrument would often be accompa-nied by the clarinet, the flute, the triangle and the violin, interpreting opera arias, and tradi-tional songs, enchanting public spaces and providing entertainment in the ball rooms.

Davide, who is not even thirty years old, has an extensive performance history in Italy and abroad. He has played the diatonic accordion (Organetto) since he was five, and also plays the Italian bagpipes (Zampogna), the piffaro (Ciaramella), as well as frame-drums and oth-er percussion.

The famous arpicedda became a part of his life over ten years ago, and soon after master-ing the instrument, he co-founded in 2004 the first artisanal workshop for the fabrication of the Italian harp, which proudly carries his fam-ily name. The establishment of this workshop revived the tradition of making and playing the arpicedda that had been lost for years.

‘Today’, Davide explains, ‘playing this instru-ment for the Lucano people means having an unbreakable link to our own land. It means creating alternatives for young people and for our valley immersed in oil, but above all it means reviving a tradition in its entirety creat-ing new opportunities.’

Since the Viggianesi are also travellers, it’s fitting that this passion continues here in Multicultural Melbourne, where Davide has lived for only a short time, but where he has united young and elderly musicians from his hometown. His charismatic performances are reminding Melbourne of the importance of the viggianesi to Australia. The first Italians to settle in Lygon Street in the mid 800’s, were,

after all, musicians from Viggiano, who creat-ed the vibrant hub from where you might now be sitting in a café, reading these words: Mel-bourne’s famous Little Italy.

Davide is also a hairdresser. In Italy musi-cianship and haircutting traditionally go hand in hand, and that’s just one more cultural tra-dition that Davide has brought to Melbourne. “Since my arrival in Australia, I’ve tried to es-tablish myself in this new cultural and social context, working hard to reach new levels without ever abandoning that link between hairdressing and music. In my salon, actually, there is no shortage of live music. This is a great source of amusement and curiosity for people from other cultures.”

Davide makes it clear that his salon is about more than hair. “I try to offer more than just a professional service. I also want to create an Italian environment by allowing my clients to either rediscover or fall in love with the tradi-tional music of the barber shop.”

Davide’s Salon Davier Hair Italy is surely worth a visit, and I’d also recommend hearing him play. Listening to his strong, clear voice ringing out over his effortless accompani-ment evokes scenes of a village on the oth-er side of the world, far away, but constantly present for the player.

As I consider Davide’s story, I’m reminded of the purpose of this series, which is to show the value of musical instruments not only as objects but as protagonists, or, true soggetti sonori.

The little harp from Viggiano is so firmly en-twined in the life of this young musician, who went as far as creating a place to make them in his hometown. It’s a gesture that could almost be interpreted as a thank you to the instrument that made the musician, for an immense contribution to music throughout the world.

www.davierhairitaly.com

WORDS SALVATORE ROSSANOPHOTOS DANIELE CURTO

The viggianese harp has 34-36 strings in diatonic tuning, no devices for the alteration of the notes

and a height of about 1.50 m. It has a cylindrical column, a soundboard with horizontal bands, a polygonal sound box with slats. To be transported was supported by a long strap that

passed on the shoulder of the player.

SOME TECHNICAL DETAILS

Davide Ierardi playing the harp at his salon in Preston

REGULARS 25

Italian Family Looking for Lost Baggage,Photo by Lewis Hine.

Ellis Island, New York, 1905, The Museum of Modern Art, New York.

This is a famous and often repro-duced photograph, used to exem-plify the migration experience. Le-

gions of viewers have wanted to project or inscribe their interpretations onto this photograph, with comments like: "Fero-cious and affectionate mother".

Lately it has been used to remind Italians that they too, were once like the poor migrants that are drowning off the coast of Lampedusa. However, when images like this are used as symbols we tend to forget one thing.

These people have names: in 1985 they were identified as Anna Sciacchi-tano and her children, Paolo, Maria, and Domenico, who migrated to the Usa to join their husband and father Giovanni Gustozzo, in Scanton, Pennsylvania. [Lewis W. Hine Collection, New York Public Library]

Funny that… You can see Anna Sciac-chitano's name fairly clearly on her suit-case. It just goes to show how migration has long been anonymised and essen-tialised by the cultural elites. Instead of being tagged as a photo of Anna Sci-acchitano with her children, it became

the 'symbol' of Italian migration for the culture mill (and I suggest even for the photographer himself, who despite his best intentions as a social reformer, still fell into this trap. In fact, I wonder if he took this photo with Anna Sciacchitano's consent).

This is a bit like publishing photos of starving children in Africa to evoke sym-pathy for charitable purposes (when they are not used to make money for multi-nationals). We are meant to see anony-mous starvation and to sympathise, but I wonder what the impact would be if we knew the names of these children, when and where they were born, what games they liked to play and who their parents, and brothers and sisters were etc. I think only then would the horror – and/or suffering – of the people represented in these photos, becomes more evident and, I suggest, more difficult to deal with.

This reflection brings me to some final considerations, or perhaps, questions: Why must we fill our mind with like figures and images? Are we not simply reproducing and expanding the adver-

The Deceptive

Use of POIGNANT

IMAGES

WORDS GERARDO PAPALIA

tising model to the point of considering it a legitimate representation of reality? Should we not question this entire visual paradigm that seeks to predetermine the connection between image and its content and/or meaning?

I suggest that it is precisely because of the resulting tension between image and content that we have the post-modern phenomenon of 'culture jamming' and referential satire (as for example in The Chaser's skit about children dying of can-cer). However, this trend also operates to the detriment of active change (effective-ly addressing situations such as world hunger), by reducing what passes as 'information' to the continual eye glazing flow of passively absorbed imagery.

The medium has truly become the massage.

gerardo.papalia@monash.edu

26

It is late September 1962, and Giuseppe Gargaro receives some wonderful news. His wife has given birth to another son. It is a time of great joy, of celebration. In Italy family

is sacrosanct, and the birth of a child is an affirmation of life itself.

Two days later Giuseppe leaves his wife and four children behind and sails for Australia. And for the next four years he would toil away in a foreign land, struggling to make sense of the language, the customs, the lifestyle, all the while conscious of a nagging desire to be close to his wife and children.

Such is the harsh reality of life for many like Giuseppe Garga-ro, a man seeking to make ‘strade’, inroads, for his family.

‘Quattro anni lontano dalla famiglia,’ he whispers, and you can hear the sliver of regret on the edges of this reedy voice. (Four years away from my family) ‘Molto duro.’ (Very hard.)

But like so many from his native village of Viggiano, Giuseppe knew that Australia offered an oppor- tunity to him to get a head, to take ‘un passo avanti’ (a forward step), and so he went to work, in Sydney, including a long stint at General Motors Hold-

en. He boarded with a sister for two years, then a brother, all the while seeking to get a loan from a bank which would allow him to buy a home of his own and call his family-including his mother, out to Australia to join him.

Giuseppe is praiseworthy of Australia in so many respects. The wide spaces, the opportunity to find work and earn a week-ly wage, the chance to send money back to his loved ones. He found Sydney a gracious city, and Australians for the most part accommodating, even if at times a little intolerant of the cultur-al differences, particularly the Italian credo of the time to work hard and long and put money aside. Sometimes, he said, it was difficult because he couldn’t see the point in spending money on what to him were rather frivolous outings which might have included drinking at the pub, and gambling on the horses.

‘Sono rimasto che non tornavo in Italia,’ he tells me with a wry smile, e poi...’ (I had decided I would not return to Italy, and then...). And then Giuseppe couldn’t lock in that loan he so des-perately wanted. ‘Se avessi potuto comprare la casa, forse si, ci sarei rimasto,’ (If I had been able to buy a house, then perhaps yes, I would have remained.) But it wasn’t to be.

Decided that what he needed was to secure a future for his family, and somehow have a pension to see him through his old age, Giuseppe did what many others were to do also, he returned to what he knew, what he felt was as secure as it was

possible to be at the time.

‘Sono tornato in Italia a fare quello che facevo prima,’ he says and I can see that he is genuine in his words. (I returned to Italy and back to what I had done previously) He returned to the land. To agriculture. To that and three more children.

And a life that in his eyes has been as fulfilling as he could have hoped. He realised the goal of raising his children, all

seven of them. They in turn are all married, three have moved to Le Marche, four live in Viggiano alongside their parents. The money he sent back from Australia helped set up a life apart from that which may have been possible without Giuseppe’s sacrifice of leaving his family, his language, his culture and all he knew to be familiar, behind.

‘Ho sette figli, tutti sposati’ (I have married off all seven children) he reiterates as we shake hands to part. ‘Sono contento.’ (I am happy.) He had no regrets. And that had to count for much.

A FUTURE IN THEIR PAST

WORDS ARCHIMEDE FUSILLO

Giuseppe Gargaro

Archimede Fusillo

REGULARS 27

www.coffeemax.com.au

742 Burke Rd, Camberwell VIC 3124 Phone 03 9813 0111

ROASTED BY DINO CRIVELLI

THE YOUNG EXPLORE THE OPPORTUNITY TO REIN-FORCE THEIR INTANGIBLE CULTURAL HERITAGE

The 2015 edition of the International Cultural Fo-rum WHYSEE2000 will take place on the 17th - 20th September in Apulia and Basilicata. The forum aims to safeguard the intangible cultural heritage creating new working opportunity in tourism through the revival of ancient professions, handcrafted products and foods. It takes into consideration:

The recent election of Matera (Italy) and Plovdiv (Bulgaria) as European capital of Culture 2019.

The development of UNESCO’s initiatives, the de-cision to regress and sign another official document with the proposal of the participants addressed to UNESCO and to the Culture Ministers of the engaged countries (the first dates back to the forum of 2012 www.whysee2000.info/documento ue.htm).

The ICH NGO FORUM’s partnership www.ichngoforum.org

Thanks to:

Italian Association Hotels for Youth (AIG), of which this year marks the 70th anniversary. The association was created to promote socialization and the development of the hospitality aware of the importance of anyone’s

traditions and identity.

The “Antica Masseria dell’Alta Murgia” (farm) seized to a criminal organization in which the Social project

F.O.R.T.E. promotes the local food and culture through young people.

ICF-WHYSEE2000 Promoted by AIG (Italian Association Hotels for Youth) and by the Italy-Bulgaria Committee in collab-oration with UNPLI (National association of the Italian Munic-ipalities), NAMRB (National Association of Municipalities Republic of Bulgaria), CLUJ2015 (Europe-an Capital of Youth 2015), with Italian and foreign partners, will take place from the 17th to the 20th September in Apulia and Basilicata

Italian “walks” - Cammini ItalianiInitiative organized by the national UNPLI (path from Bari to Matera)

Concerts in the gardens and peripheral squares, to make the less crowded areas alive and young people from vulnerable areas, the

main and active figures of these shows.

ICH -FEST AWARD

Competition among folkloristic groups with sessions and daily award ceremonies to allow participants to come back at the end

of the sessions.

FOOD TASTING AND CATERING

With the participation of local chefs, such topic will be also discussed at the EXPOMILANO2015.

EMOTIONAL PACKAGE OF THE SENSES AND PASSIONS

All participants will have the possibility to experience and learn about ancient jobs through activities such as cooking, handcraft,

papier-mâché, ceramics and guided tours in the countryside. Visitors will be engaged in the grape harvest process and so on.

PARTICIPATION OF THE DIPLOMATIC DELEGATION

Active participation of the Culture Institutes and Embassies of the EU, NO EU and Mediterranean Countries.

To participate register on line at www.whysee2000.info

Upon completion, bank data will be provided so that payment may be submitted.

After this step you will receive the bank data necessary in order to complete the payment operations of the participation fee.

WHYSEE2000 UNPLI-ANCI Conference about the importance of the intangible cultural heritage Organized by UNPLI and ANCI (Bari - Fri-day 18th September 2015) in the presence of all delegates.

World Games for Peace -AIG 70th anniversary Will take place in dif-ferent cities: Amateur Sports Association and Private People, will also participate as well as the Interna-tional committee of the World games for Peace.

General States of Culture and Tourism Event developed by the National Youth Forum.

During the course of the Forum, other events will take place such as:

Conferences Round-table, semi-nars, workshops and debates.

Exhibition Area Handcrafted local wine and food and Italian folkloristic groups.

Artistic Exhibitions Event developed by GAIA Australia (paint-ings and sculptures in the pedestrian area of the interested Cities).

EVENTS

29

osteria@maccaronitop.com.auwww.maccaroniosteria.com.au

IT'S ONLY THE BEGINNING!

Maccaroni osteria italiana 201 Queens parade, Clifton Hill 3068

Phone 03 90770377

AUTHENTICITY...

My mother-in-law lives in an apartment in a small city in Apulia. Her balcony faces a piazza, where the food mar-ket is held twice a week.

The fishmonger holds the stall directly outside the bedroom window. He is a leathery man who leaves a cigarette in the corner of his mouth, letting the ash drop to the ground as he screams about the catch of the day. He starts doing this at about 6am on a Saturday at regular thirty second intervals, not unlike my childhood pet Julian the rooster.

‘Tutto a mille lire!’ The man is also stuck in another time and currency.

My mother-in-law buys fish once or twice a week, on the days the markets are held. She also buys her eggs at 20c each from a local farmer. She buys whatever veggies are in season at that same market. She often buys legumes from sacks there, or flour for making fresh pasta, like orrecchiette or ……. from her native Sicily.

Like most eighteen year olds, when I moved to Italy, I didn’t really know how to cook. I could fry an egg and assemble a cou-

ple of gourmet dishes, but I didn’t yet understand the art and science of cooking.

I learnt from my then-boyfriend’s mother. She always had fer-ments and beans soaking on the kitchen benches, overflowing boxes of produce in the reception of their dental practice, which they gave away to patients. She and her family had a huge in-fluence on the way I ate as a young adult. As a vegetarian in Tuscany, I learned to cook pasta, rice, and soups using legumes, fresh produce and day-old bread. I boiled potatoes and ate them with salt and olive oil. I learned to identify a few varieties of wild mushrooms, cook them and serve them on piles of polenta.

When my current partner and our daughter moved back to Australia a few years ago, I was a young mother feeding a tod-dler and a growing fetus. Like most people in their twenties, I probably spent too much time on the internet, and that is some-thing else that has influenced my personal food culture. When we moved here, increasingly concerning to me was the quality of food we were buying, and I was comforted by the term ‘or-ganic’. I found that stuff much more readily available here in Australia than in Spain, where we’d moved from.

TEN YEARS A STRANGER STORIES FROM A DECADE LONG RELATIONSHIP WITH ITALY

WORDS HAYLEY J. EGAN

FOOD: THE STATUS SYMBOL OF THE HASHTAG GENERATION!When fashion over laps culture

30 REGULARS

IVANO ERCOLE

THE TYRANNY OF POLITICAL FORGERY

AUSTRALIAN DIARY

The Tyranny of Distance is an expression used by the eminent Australian scholar, Geoffrey Blainey, as the title of a book he wrote some forty years ago and has since become a classic of

Australia’s social history. The book argues that geographical isolation was a crucial factor in shaping the destiny of this country. Its remote-ness from the rest of the world and particularly from Britain and Eu-rope encumbered for a long time its progress and the life of its people.

Today, as they say, the shoe is on the other foot. The distance has turned into a boon. Just imagine if Australia were located in the prox-imity of Africa. It would be flooded by an unstoppable flow of asylum seekers like it’s happening in Italy where hundreds of thousands of people arrive each year, driven by the dangers of wars, political oppres-sion, religious persecution or simply by hunger.

Australia is not immune from this problem but the number of people who put out to sea to reach this country is relatively small compared to the throngs of refugees who are swarming the cost of Sicily. This does not depend on Australia being less attractive than Italy or Eu-rope. The number is small because Australia is protected by its dis-tance. The cost line of Indonesia where the boats of asylum seekers depart from is nearly a thousand kms away from Australia and the route is across an ocean and not a much less turbulent Mediterranean Sea.

Yet the arrival of these desperate people from the sea has been forged as one of the greatest threat to the national security. Despite the fact that, as certified by the United Nations High Commissioner for Refugees (UNHCR), Australia receives only about three per cent of the total asylum claims made in industrialized countries around the world, both major parties have succeeded in whipping up a kind of hysteria in the Australian electorate. The narrative started by calling them “il-legals” and “queue-jumpers”, then it assumed the tone of “smashing the people smugglers”, and lately evolved to the so-called “Operation Sovereign Borders” under the control of a military commander. From that point on, news about boat arrivals has fallen under the secrecy of “an operational matter”. The Abbott’s government promise to “stop the boats” has turned into stopping information about the boats.

Ironically all these emergency measures “to protect the Australian borders” do not apply to the asylum seekers who come by plane. Their number is not officially released but it is estimated in the thousands each year. They typically have a short-term visa (study, tourism, busi-ness) and after entering Australia legally, they apply for asylum. When their short-term visa expires they are allowed to remain in the commu-nity on a bridging visa while their asylum claim is resolved. Those who come by boat risking their life are instead put in detention centres or sent to refugees camps in Manus Island or Nauru and have to wait for years before knowing their fate. This, although boat people are not really “illegals”. Coming to Australia the way they do is not an offence against any law. To the contrary, seeking asylum is a right upheld by the Universal Declaration of Human Rights. A document Australia helped create and undersigned, and today treats like waste paper.

In Melbourne we could grow some veggies in our own backyard, and order boxes of or-ganic produce to supplement whenever we needed it. The boutique grocery shop on the corner sold organic peanut butter and biody-namic sourdough for around 8 dollars a loaf. My corner of the web filled with food terms like #vegan, #paleo, #glutenfree and my per-sonal favorite, #eatrealfood.

We kept living on soups and vegetables, and found that baking our own bread would be necessary if it were to continue to be such an important mediterranean staple for us. For the rest of it, we slipped right into what I’ve come to consider Melbourne food elitism. In Australian cities, expensive organic food buyers talk about what good value six dollars is for a stick of butter, and how if you just go without a lamington you won’t notice spending the extra money. They don’t realise that they sound exactly like Joe Hockey comparing the cost of a doctor’s ap-pointment to a schooner of beer.

Has Australia allowed food to become a status symbol?

We are currently living in country Victoria, and at a cafe in town the other day I had a conversation with a local organic farmer. He and his family are planning on visiting Italy for the first time, and he told me he was most excited about visiting the small farms there. “We live this life, with small family farms pro-viding food for the village, and we instagram it. It’s fashionable in a way. I want to go to see these small farms in Europe. Small fami-ly farming… without the hashtag.”

I considered his words and wondered if he may be romanticising Italy’s food system. I thought about the way that the European Union laws oblige each member state to fulfill certain quotas for the export of their produce, meaning that the orange you buy in Valencia could have come from Sicily.

Also, is Italy really a hashtag-free zone? The buzzwords have certainly arrived there too, with kilometro zero (#km0) on shops and stalls everywhere, but the wise words of a small-scale Australian farmer articulat-ed something that I’d been pondering for a while. Throughout Italy, eating healthy local food is a sacred daily ritual and these move-ments make little difference to the way most people already live. In Apulia, at least, there is nothing cool about growing food, or mak-ing your own bread.

Italians don’t need to hashtag #eatreal-food. They are too busy eating it, preparing it, and always, always talking about it.

hayley.j.egan@gmail.comwww.hayleyeganart.com

Ivano Ercoleeditor@segmento.com.au

REGULARS 31

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