Kristina Jacobsen, SingerSongwriter: Honky Tonk Americana
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Festival Days in Santu Lussurgiu, Sardinia: Festa del Sacre Cuore

7/23/2019

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La Chiesa di San Pietro, Santu Lussurgiu, Sardigna.
​Over the last ten days in the village of Santu Lussurgiu (Sardigna), horse-related activities have ramped up. Teenage boys, men and children as young as four and five are seen, riding horses through the narrowest of village streets, to the grocery store, to the bar, and back home again. At least twice a day, a group of 2-3 young men on tall, muscular horses (Anglo-Arab-Sardinian, to be exact) pass right below my balcony on via Nuoro. I’ve always been told that the village deeply loves their horses, but I’ve never seen or felt it in quite this way. Yesterday, I found out why.
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Two young boys on horseback, via Santa Maria, Santu Lussurgiu.
At 6:55 last night, I was asked by the owners of the local market where I shop if I was going to “l’Ardia.” Not knowing what that was, I said I didn’t know, and they told me, “go over there, to Piazza San Pietro. If you leave now, you can still catch it in time.” So I did, and at 7 pm I arrived at Piazza San Pietro to find a crowd of people crunched in the corner of the piazza, and laurel branches placed around the perimeter of the entire piazza. 
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Procession through the village with Christ and cross.
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Laurel leaves in preparation for l"Ardia, or horseback procession.
A loud firecracker sounds to signal the festivities, and the next thing I know, a stampede of twenty five horses come racing through the piazza, within feet of the crowd. The horses are ornately decorated, each with a gold star on its chest, and riders are dressed up, too. Social status through dress is also clearly delineated, and the three men at the front of the line (the “Priors” of the procession) are each wearing suits with their riding breeches. The air is now filled with the scent of laurel leaves and smoke. 
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men on horseback for l'Ardia, Santu Lussurgiu.
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"Priors" (event leaders/community organizers) of the l'Ardia.
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Blessing the horses and their riders with holy water.
They line up, in a single file line against the wall of myrtle branches and adjacent to the church of San Pietro. Since this is part of the village festival known as “Festa del Sacre Cuore” (Festival of the Sacred Heart) and part of the annual liturgical calendar, the Catholic priest blesses the men, throwing holy water on the horses from a dropper as he walks by each of them, says a prayer for everyone, and another firecracker is lit as the horses roll their eyes and become antsy. Then, just like that, they take off running, coming through the narrow piazza three more times before returning home to their stables on the perimeter of the village.
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Image of the Christ statue that is carried around the village.
An hour later, I hear an accordion playing, loudly and fully, from somewhere in the village. I walk downstairs to explore where it’s coming from, and the sound stops. It starts again, but this time it’s in earnest, playing multi-metered Sardinian dances, one faster than the next. Each time I enter a piazza, it gets louder, and each time I enter a narrow street, it becomes quieter. I’m confused, and can’t seem to source the sound. Then, I look up at the white Jesus statue at the rim of the volcano, which sits at the complete top of the village. There, far away, I spot a small speck: it’s the accordion player, leaning against the statue, with the entire acoustic bowl of the village to amplify the sound of the instrument. Surrounding him, I see swaying bodies, and realize that a dance, and possibly a “festa,” are taking place up there, replete with “balli sardi” (Sardinian traditional dances). I fall asleep to the vibrant sound of accordion music, streaming through my wooden window shutters.
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Jesus statue at the top of the volcano/village. Photo by John Parish.
The next day is the final procession, signaling the end of the Festa. We walk, mostly women, singing and reciting parts of the liturgy in Latin (“Christo, abbia pietá di me”), with a statue of Christ carried on a stretcher at the front, from the Piazza di San Pietro, and circle the entire village, returning an hour later to the same Piazza, where the saint is returned to its resting place by the altar until next year’s renewal ceremony. More firecrackers are lit in the center of the piazza, and everyone heads home to prepare their dinner, attend to children and family, or take their evening walk around the village.
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Casa Santa Maria, Santu Lussurgiu. Photo by John Parish.
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San Paolo Albanese (Potenza, Basilicata): Food and "Pranzo" as Ritual Act

7/4/2019

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Pepperoncini plant on our balcony, Francavilla in Sinnis, Potenza (Basilicata).
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Older building in San Paolo Albanese, founded 1534.
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Map of the "insep" of southern Italy's boot.
​Each time I return to Italy, I am struck, on the one hand, by how chaotic much of daily life can feel, especially when it comes to city driving, and, on the other hand, the keen sense of ritual and mindfulness that exists around food. This contrasts so sharply with how I’ve been raised as a North American, where food is often wedged in between fixed time commitments and planned activities. In southern Italy in particular, even daily activities are generally specified not so much around fixed clock time, but around their relationship to a mealtime, and nowhere in southern Italy is this sense of ritual more distinct than around the daily noontime meal known as “pranzo.” 
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trumpet vine, San Costantino Albanese.
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"Ginestra" ("broom") flower, staple crop for clothing and weaving, San Paolo Albanese.
Yesterday, we drove to the village of San Paolo Albanese, a community tucked in the “instep” of southern Italy’s boot in the region known as Basilicata, surrounded by the largest national park in Italy, Il Parco Nazionale di Pollino. This is the smallest village in the region (population 328), and it was founded in 1534 as a village of ethnic Albanians who fled here following the incursion of the Ottoman Empire in Albania and Greece. Village residents speak both Italian and Albanian: the version of Albanian they speak is called Arbëresh, and is essentially a sixteenth century version of Albanian, crystallized in time, transmitted orally for almost five centuries in this village. After visiting a hat shop and a museum, we were escorted to the kitchen of Nicoletta Sas for pranzo. ​
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house wine, mineral water, semolina bread.
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eggplant under oil and garlic
​We were served southern Italian staples such as fresh pecorino cheese, prosciutto, and large chunks of tender semolina bread for the “aperitivo,” grilled salted eggplant under olive oil and garlic for our side (“contorni”), and a red house wine in a decanter to wash it down. But our main dish, a “pepperonata” with red and green peppers, sweet Italian sausage, garlic and onion and then coated in egg yolk, and the skinned, salted zucchini in spaghetti-like strands that we had for a side dish were, according to our chef Nicoletta, “puro Albanese” (pure Albanian). In fact, after our appetizer and side dishes, there was so much food, we “skipped” both the first course (pasta) and second course (meat), and jumped straight to desert (fresh apricots) and coffee.
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eggplant with "pepperonata" (pepper dish) and bread.
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marinated zucchini dish
After the meal, Nicoletta’s song offered us a house made “grappa” (a type of distilled wine or vernaccia) on the house, and we shared stories. Tall, slender, with pale skin and jet black hair, he is also, it turns out,  a politician, a lawyer, and a former coordinator of study abroad programs for students at Italian universities traveling to Albania, Turkey, and surrounding countries. After twenty years in Rome, he decided to return to live in San Paolo, now commuting twice a week back and forth to Rome to work, a drive of some 4 ½ hours, each way.  As he described this choice: “In Rome, you’re just a number. In San Paolo, you’re a person.” 
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bakery sign in Arbëresh and Italian, San Costantino Albanese.
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eggplant and pepperonata, other angle.
​We then switched to discussing food, and the significance of not just eating as a mechanical function of caloric intake, but of really eating. “Once a day,” he said, “we eat.” Once a day, he went on to explain, the onlything we are expected to do is eat, in ritualized fashion, and in community with others. It relaxes you, it’s the fixed point in your day, and everything else is arranged around that fixed point, symbolically and logistically. Returning to the topic of his decision to move back to San Paolo and begin the commuting live between country and city, he ended by saying three times, with a heightened expression of tenderness and joy on his face: “E qui, c’é la mamma chi cuoca” (and anyway, here, there’s the mother that cooks for you.) 
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with chef Nicoletta Sas, San Paolo Albanese, at her restaurant, Il Giardino delle Rose.
Thank you to: Nicoletta Sas, the comune of San Paolo Albanese, and the restaurant, “Il Giardino delle Rose,” for their hospitality and for permission to share these photographs.
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    Cultural Anthropologist, Singer-Songwriter and multilingual speaker Kristina Jacobsen blogs on the boundaries and connections between songwriting, ethnography and the songwriting life.

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