Castelli di Memorie
Basic information
Project Title
Castelli di Memorie
Full project title
Castelli di Memorie
Category
Regaining a sense of belonging
Project Description
The Italy of villages, to which tourism has accustomed us in recent years, led to the creation of an imaginary in which the villages are similar to postcards. Yet small towns – which faced unprecedented socio-economic decline and the earthquake – are much more. Castelli di Memorie is a winning festival format where classical music seals the union between art, nature, traditions and community.All this demonstrates how memory of places can become a tool for relaunch. Glimpses of beauty to restart.
Geographical Scope
Regional
Project Region
Abruzzo (municipalities of: Fossa, Tione degli Abruzzi, Navelli, Castel del Monte, Santo Stefano di Sessanio, Barisciano, Fontecchio, Acciano, Montereale, L'Aquila) and Lazio (municipality of Amatrice), Italy
Urban or rural issues
Mainly rural
Physical or other transformations
It refers to other types of transformations (soft investment)
EU Programme or fund
No
Description of the project
Summary
The specific objective of the proposal was to create the "Castles of Memories" network with citizens, institutions, associations and businesses of the villages of the internal areas to start a participatory process of reconstruction of the memory and cultural heritage of the villages of the affected internal areas from the 2009 L'Aquila and 2016 Amatrice earthquakes.
The project, which began in February, involved 10 Municipalities, the University of L'Aquila, the USRC, Special Office for the reconstruction of the Crater Municipalities, community cooperatives, pro loco, the most active associations in the territories. It was also sponsored by the Municipality of L'Aquila, the Abruzzo Region and the Italia Patria della Bellezza Foundation.
Between July and August the Festival stopped in Amatrice (Rieti) and in nine other towns in the province of L'Aquila, leaving an indelible mark in each place.
In addition to the music of I Solisti Aquilani, in each location, walk and talks were held with scholars, researchers, journalists, artists, representatives of associations and local people; tastings of typical local food and wine products and display/market of typical products.
“Castelli di Memorie” therefore had the merit of highlighting, through the great music performed by the L'Aquila Soloists, the processes of social and cultural reconstruction that are already underway in the countries affected by the seismic crater of 2009 and 2016. There we are aimed at and have involved in the activities those who live in those places, who have decided to stay or move there from other places to build a life far from pre-established patterns and large metropolises.
In each Municipality we managed to activate participatory processes and transversal collaborations, sometimes unexpected, between local administrators, associations, volunteers and individual citizens who contributed personally. Furthermore a podcast and a video documentary were created from the significant experience.
The project, which began in February, involved 10 Municipalities, the University of L'Aquila, the USRC, Special Office for the reconstruction of the Crater Municipalities, community cooperatives, pro loco, the most active associations in the territories. It was also sponsored by the Municipality of L'Aquila, the Abruzzo Region and the Italia Patria della Bellezza Foundation.
Between July and August the Festival stopped in Amatrice (Rieti) and in nine other towns in the province of L'Aquila, leaving an indelible mark in each place.
In addition to the music of I Solisti Aquilani, in each location, walk and talks were held with scholars, researchers, journalists, artists, representatives of associations and local people; tastings of typical local food and wine products and display/market of typical products.
“Castelli di Memorie” therefore had the merit of highlighting, through the great music performed by the L'Aquila Soloists, the processes of social and cultural reconstruction that are already underway in the countries affected by the seismic crater of 2009 and 2016. There we are aimed at and have involved in the activities those who live in those places, who have decided to stay or move there from other places to build a life far from pre-established patterns and large metropolises.
In each Municipality we managed to activate participatory processes and transversal collaborations, sometimes unexpected, between local administrators, associations, volunteers and individual citizens who contributed personally. Furthermore a podcast and a video documentary were created from the significant experience.
Key objectives for sustainability
During the Castelli di Memorie Festival, I Solisti Aquilani played Vivaldi's The 4 Seasons with the aim of raising a cry of alarm against ongoing climate change.
The concert by the violinist Daniele Orlando together with the string orchestra of I Solisti Aquilani offered the public various food for thought, thanks to the development of a "chiaro-scuro sound" in the performance: on the one hand, nature as it it was, could have and could return to being, on the other hand, a violated nature like the one we have too often before our eyes.
As majestic as open to meeting, our orchestra has launched a powerful message with its music: together we can make a difference for a more sustainable environment and communities.
Over the last 7 years and in the “Castelli di Memorie” project I Solisti Aquilani have explored the theme of sustainable development, area II of the National Strategy for Sustainable Development "Planet", choice III Creating resilient communities and territories, safeguarding landscapes and cultural heritage, through the creation of the CD "Vivaldi The 4 Seasons” (Ed. MUSO): a peculiar reinterpretation of Vivaldi's Four Seasons to raise public awareness on the dangers of climate change. THE CD has already had 4 million plays on Spotify. (https://open.spotify.com/album/6sLMjlWt2qjSeU7aTNuO0f) and it was reprinted in 200 copies as part of the Castelli di Memorie project.
In addition to the CD, I Solisti Aquilani have created an experimental short film "A new season", which expresses this "complaint" with particularly evocative images dragging the audience onto the same emotional level as the performer. The project that led to the creation of the CD and the short film was also sponsored by the European Parliament in Brussels and the Chamber of Deputies.
The Castelli di Memorie project had the advantage of bringing this important message raising awareness to more than 1,000.00 people living in isolated areas.
The concert by the violinist Daniele Orlando together with the string orchestra of I Solisti Aquilani offered the public various food for thought, thanks to the development of a "chiaro-scuro sound" in the performance: on the one hand, nature as it it was, could have and could return to being, on the other hand, a violated nature like the one we have too often before our eyes.
As majestic as open to meeting, our orchestra has launched a powerful message with its music: together we can make a difference for a more sustainable environment and communities.
Over the last 7 years and in the “Castelli di Memorie” project I Solisti Aquilani have explored the theme of sustainable development, area II of the National Strategy for Sustainable Development "Planet", choice III Creating resilient communities and territories, safeguarding landscapes and cultural heritage, through the creation of the CD "Vivaldi The 4 Seasons” (Ed. MUSO): a peculiar reinterpretation of Vivaldi's Four Seasons to raise public awareness on the dangers of climate change. THE CD has already had 4 million plays on Spotify. (https://open.spotify.com/album/6sLMjlWt2qjSeU7aTNuO0f) and it was reprinted in 200 copies as part of the Castelli di Memorie project.
In addition to the CD, I Solisti Aquilani have created an experimental short film "A new season", which expresses this "complaint" with particularly evocative images dragging the audience onto the same emotional level as the performer. The project that led to the creation of the CD and the short film was also sponsored by the European Parliament in Brussels and the Chamber of Deputies.
The Castelli di Memorie project had the advantage of bringing this important message raising awareness to more than 1,000.00 people living in isolated areas.
Key objectives for aesthetics and quality
All the events of the festival were community events, events in which the community, local administrations and associations contributed. In fact, each event was unique and built together with the community to bring out the beauty of that place. Together with the local administrations we chose the locations, who to involve in the logistics, in the organization of the tasting, and of the possible market of typical products. In each small town we tried to bring out the peculiarities of the place, the strengths, the key elements for the restart.
In Fontecchio, for example, the artists in residence and the artists (Italian and foreign) who have decided to make that town their home-workshop, created - alongside the concert - a community performance "The power of dust" conceived and conducted by the German artist Martina Maria Riescher with the aim of promoting the petition to ensure that UNESCO recognizes clouds as an intangible heritage of humanity.
The walk and talks were also planned with the community/associations in terms of involvement and witnesses/narrators.
A true participatory process that has led to overcoming divisions and differences that are evident or latent even within villages with a few hundred inhabitants. This is creating cohesion, this is networking.
The result, therefore, went far beyond expectations. If it is true that much of the high quality and aesthetics of the Castelli di Memorie Festival experience was certainly due to the skill of the musicians and the great music of Vivaldi, the experience was made magical by the attentive and passionate participation of the audience present and the incredible beauty of the places chosen for the event: medieval towers, castles, squares with a breathtaking view on the surrounding valley. All this allowed those who were there to have an enormous benefit on a cultural and social level.
In Fontecchio, for example, the artists in residence and the artists (Italian and foreign) who have decided to make that town their home-workshop, created - alongside the concert - a community performance "The power of dust" conceived and conducted by the German artist Martina Maria Riescher with the aim of promoting the petition to ensure that UNESCO recognizes clouds as an intangible heritage of humanity.
The walk and talks were also planned with the community/associations in terms of involvement and witnesses/narrators.
A true participatory process that has led to overcoming divisions and differences that are evident or latent even within villages with a few hundred inhabitants. This is creating cohesion, this is networking.
The result, therefore, went far beyond expectations. If it is true that much of the high quality and aesthetics of the Castelli di Memorie Festival experience was certainly due to the skill of the musicians and the great music of Vivaldi, the experience was made magical by the attentive and passionate participation of the audience present and the incredible beauty of the places chosen for the event: medieval towers, castles, squares with a breathtaking view on the surrounding valley. All this allowed those who were there to have an enormous benefit on a cultural and social level.
Key objectives for inclusion
As regards affordability, given that it is a project financed by the Ministry for the Environment and co-financed by the CARISPAQ Foundation, all project activities were completely free for the public.
With respect to accessibility, it is important to underline that the actions took place in medieval villages where accessibility is not always guaranteed, given that the interventions to make the places accessible are incompatible with the preservation of the places themselves by the public body in charge for Cultural Heritage. However, we have tried to hold the concerts in town squares or in places accessible by car and we have always made chairs available to welcome older participants or those with mobility difficulties and mothers with children first and foremost.
As regards the inclusive management dynamics, if it is true that I Solisti Aquilani Association took care of the overall coordination and administrative and financial management of the project, we can certainly state that the bottom-up participation dynamics were respected and facilitated as much as possible. And this meant that the sense of belonging to the event was gradually growing. They were the Castles of Memories of the town of Fontecchio, Tione, Montereale etc.
With respect to accessibility, it is important to underline that the actions took place in medieval villages where accessibility is not always guaranteed, given that the interventions to make the places accessible are incompatible with the preservation of the places themselves by the public body in charge for Cultural Heritage. However, we have tried to hold the concerts in town squares or in places accessible by car and we have always made chairs available to welcome older participants or those with mobility difficulties and mothers with children first and foremost.
As regards the inclusive management dynamics, if it is true that I Solisti Aquilani Association took care of the overall coordination and administrative and financial management of the project, we can certainly state that the bottom-up participation dynamics were respected and facilitated as much as possible. And this meant that the sense of belonging to the event was gradually growing. They were the Castles of Memories of the town of Fontecchio, Tione, Montereale etc.
Results in relation to category
Regaining a sense of belonging was the underlying theme of the entire project. Belonging to places devastated by the earthquake, but which remain places of the soul and which are coming back to life thanks to physical reconstruction. And even more: rebuilding the identity of communities that are facing profound transformations. Small villages have enormous potential in the current socio-economic context, especially where local administrations prove attentive to the needs of the new generations and "new inhabitants". Castelli di Memorie had the merit of turning the spotlight on the difficult processes of cultural reconstruction, highlighting the beauty and tenacity of many citizens who face innumerable daily difficulties linked to the lack of basic services and the multiplicity of interests and opposing visions on local development. Ultimately Castelli di Memorie has become a sort of brand that has allowed the 10 partner towns to have a strong positive return on image and a notable increase in visibility.
How Citizens benefit
The involvement of citizens and civil society was different in each event:
- in Tione, the Massimo Lelj Association managed to inaugurate the preview of the exhibition dedicated to Rosa and Lelj, two important forgotten authors of the last century;
In Castel del Monte and Navelli the history of the place and its traditions (such as transhumance and the cultivation of saffron) was predominant through tastings presented by associations and small local companies;
- Art has reigned supreme in Fontecchio, a place that is establishing itself as a town for artists, who have chosen to live in Fontecchio due to a specific strategy of the local administration. Here a group of artists under the guidance of Martina Riescher staged the performance "The power of dust": a denunciation against climate change and the promotion of the petition so that clouds become a UNESCO intagible heritage;
- In Barisciano, a stonemason led the walk and talk about his town by making the stones and the inscriptions belonging to different eras "speak";
- In Montereale, a group of local ladies passionate about the history of their town and connections with Queen Margherita from Austria led a heritage walk which aroused interest and curiosity not only among tourists but also among inhabitants;
- In Santo Stefano the child Mayor and the other child councilors attended a conference that described the results of a participatory democracy project in small villages;
- In Fossa, an association of volunteers passionate about history and archeology brought a large group of visitors to visit the pre-Roman necropolis;
- In Beffi, the opening and guided tour of the medieval tower by a local association represented an enchanting discovery for visitors from nearby towns and L'Aquila;
- In Amatrice a group of young people made us look at their town with a new look and perspective. Seeing the beauty of Amatrice today is not easy, it must be imagined, dreamed and pursued as the walk and talk showed us.
- in Tione, the Massimo Lelj Association managed to inaugurate the preview of the exhibition dedicated to Rosa and Lelj, two important forgotten authors of the last century;
In Castel del Monte and Navelli the history of the place and its traditions (such as transhumance and the cultivation of saffron) was predominant through tastings presented by associations and small local companies;
- Art has reigned supreme in Fontecchio, a place that is establishing itself as a town for artists, who have chosen to live in Fontecchio due to a specific strategy of the local administration. Here a group of artists under the guidance of Martina Riescher staged the performance "The power of dust": a denunciation against climate change and the promotion of the petition so that clouds become a UNESCO intagible heritage;
- In Barisciano, a stonemason led the walk and talk about his town by making the stones and the inscriptions belonging to different eras "speak";
- In Montereale, a group of local ladies passionate about the history of their town and connections with Queen Margherita from Austria led a heritage walk which aroused interest and curiosity not only among tourists but also among inhabitants;
- In Santo Stefano the child Mayor and the other child councilors attended a conference that described the results of a participatory democracy project in small villages;
- In Fossa, an association of volunteers passionate about history and archeology brought a large group of visitors to visit the pre-Roman necropolis;
- In Beffi, the opening and guided tour of the medieval tower by a local association represented an enchanting discovery for visitors from nearby towns and L'Aquila;
- In Amatrice a group of young people made us look at their town with a new look and perspective. Seeing the beauty of Amatrice today is not easy, it must be imagined, dreamed and pursued as the walk and talk showed us.
Physical or other transformations
It refers to other types of transformations (soft investment)
Innovative character
The dimension of innovation is given by the musical repertoire chosen.
Vivaldi again? The Four Seasons again? Yes, to say what hasn't been said yet. To play them as they haven't been played yet.
When the first printed edition of Le Stagioni came out in 1725 the nature that surrounded Vivaldi was pure and uncontaminated. Three centuries of uninterrupted success in concert halls around the world, analyzes and debates on the opportunities for philological or alternative performances, critical reviews and rivers of ink, up to I Solisti Aquilani and "his" First violin, Daniele Orlando, sublime interpreter, which appropriated Vivaldi's masterpiece and made it a musical jewel interpreted in an original way and enriched with further meaning. Total interpenetration with the musical text up to a sort of interpretative transference, a "crazy and desperate" study, of Leopardian style, which translates into performances at the limits of the impossible, an emotional and intellectual identification that transcends the performers in a sort of sublimation of contents, these are The Seasons of I Solisti Aquilani. I Solisti have chosen a musical reading that enhances the harmonic and rhythmic asymmetries without compromising but rather enhancing the sound compactness of the orchestra using a classic instrumental vocabulary but modernly enriched by the use of atypical modes of sound emission such as the "bridge/key alternation” or the percussive use of the strings, a habit now frequent in instrumental practice but which in the performance of I Solisti was exaggerated beyond belief. Choosing, in slow movements, the total absence of vibrato which becomes an alienating tone. The descriptive character of the eighteenth-century masterpiece refers, in the interpretation of I Solisti, to images that aim to be universally intelligible keys to interpretation but with an innovative and experimental musical and instrumental content, for a new and different reading of a never static work.
Vivaldi again? The Four Seasons again? Yes, to say what hasn't been said yet. To play them as they haven't been played yet.
When the first printed edition of Le Stagioni came out in 1725 the nature that surrounded Vivaldi was pure and uncontaminated. Three centuries of uninterrupted success in concert halls around the world, analyzes and debates on the opportunities for philological or alternative performances, critical reviews and rivers of ink, up to I Solisti Aquilani and "his" First violin, Daniele Orlando, sublime interpreter, which appropriated Vivaldi's masterpiece and made it a musical jewel interpreted in an original way and enriched with further meaning. Total interpenetration with the musical text up to a sort of interpretative transference, a "crazy and desperate" study, of Leopardian style, which translates into performances at the limits of the impossible, an emotional and intellectual identification that transcends the performers in a sort of sublimation of contents, these are The Seasons of I Solisti Aquilani. I Solisti have chosen a musical reading that enhances the harmonic and rhythmic asymmetries without compromising but rather enhancing the sound compactness of the orchestra using a classic instrumental vocabulary but modernly enriched by the use of atypical modes of sound emission such as the "bridge/key alternation” or the percussive use of the strings, a habit now frequent in instrumental practice but which in the performance of I Solisti was exaggerated beyond belief. Choosing, in slow movements, the total absence of vibrato which becomes an alienating tone. The descriptive character of the eighteenth-century masterpiece refers, in the interpretation of I Solisti, to images that aim to be universally intelligible keys to interpretation but with an innovative and experimental musical and instrumental content, for a new and different reading of a never static work.
Disciplines/knowledge reflected
I Solisti Aquilani were born in 1968 and have held concerts all over the world, from Africa, America, Europe, Middle and Far East and have performed in some of the most prestigious musical institutions and concert halls such as the Berliner Philharmonie, the Teatro della Scala in Milan etc. Since 2013, the artistic direction has been entrusted to Maurizio Cocciolito. Furthermore, from planning to implementation of the project, I Solisti Aquilani Association involved professionals with long experience and considerable knowledge of the context, creating interdisciplinary connections, sometimes beyond expectations, to highlight the cultural reconstruction processes already underway in the partner villages. Great music has placed itself at the service of the territory.
The project proposal was written by a project manager with over 15 years of experience.
The organization of the events and walk and talks was entrusted to a writer and expert in participation and territorial development processes.
Communication was entrusted to a press office head (a journalist with twenty years of experience in the culture sector) and a young social media manager who was able to narrate each event. In addition to the press conferences and promotional campaign on social media, a video pill and a photo reportage were created for each event, as well as a documentary video presented during the final event.
Furthermore, a 5-episode podcast was created by a company that operates throughout the country and beyond: Chora Media. https://choramedia.com/podcast/castelli-di-memorie/;
Finally, the monitoring of the project actions was entrusted to a university researcher.
Alongside the working group of I Solisti Aquilani, it is important to underline the commitment of numerous volunteers from local associations.
It is precisely the collaboration between all these subjects with different skills, background and experiences that has determined the success of the Castelli di Memorie Festival.
The project proposal was written by a project manager with over 15 years of experience.
The organization of the events and walk and talks was entrusted to a writer and expert in participation and territorial development processes.
Communication was entrusted to a press office head (a journalist with twenty years of experience in the culture sector) and a young social media manager who was able to narrate each event. In addition to the press conferences and promotional campaign on social media, a video pill and a photo reportage were created for each event, as well as a documentary video presented during the final event.
Furthermore, a 5-episode podcast was created by a company that operates throughout the country and beyond: Chora Media. https://choramedia.com/podcast/castelli-di-memorie/;
Finally, the monitoring of the project actions was entrusted to a university researcher.
Alongside the working group of I Solisti Aquilani, it is important to underline the commitment of numerous volunteers from local associations.
It is precisely the collaboration between all these subjects with different skills, background and experiences that has determined the success of the Castelli di Memorie Festival.
Methodology used
The methodology we used in our project has to do with the mission of our association which is to build spaces and times of beauty everywhere even where it is most difficult to reach, even where it is most difficult to meet an audience prepared to listen to classical music. Using unconventional spaces, not usually used as places of culture and for an audience of different ages and backgrounds represents a highly demanding challenge for a chamber string orchestra. A challenge overcome with great success due to the high professionalism and flexibility that distinguishes the soloists of our orchestra. The approach is that of a great opening that allows great music to be brought closer to isolated towns where sometimes people have never had the opportunity to participate in a concert of this level. Concepts such as inclusiveness and integration inspired all the project actions.
How stakeholders are engaged
Building a public-private network of villages in the internal areas of Abruzzo on memory as an element of sustainability was the main aim of the project. In fact, right from the start, I Solisti Aquilani Association took steps to actively involve local administrations and associations, holding face-to-face meetings and numerous on-site inspections. The collaboration was also sanctioned by a formal agreement, a memorandum of understanding which formed the basis for the common actions of this project and future projects and put down on paper a common vision of territorial development.
We also held specific meetings and signed specific memoranda of understanding with the University of L'Aquila which was responsible for supervising the monitoring action and with the Special Office for the Reconstruction of the Municipalities of the Crater (USRC) which contributed to give visibility to the Festival in the common calendar of the Crater municipalities https://www.usrc.it/attivita/cartellone-eventi-culturali-cec and supported the project since the initial press conference. Furthermore, USRC made an important contribution to the organization of the conference "Participation in the regenerative processes of villages, the case of Santo Stefano di Sessanio" which was held in he town of Santo Stefano di Sessanio on the occasion of the Castelli di Memorie Festival.
The Abruzzo Region and the Municipality of L'Aquila have granted free patronage to the project initiatives. The Municipality of L'Aquila, in particular, supported the initiatives and hosted the final press conference.
Furthermore, the CARISPAQ Foundation supported the project and guaranteed a portion of co-financing and hosted the initial press conference at its headquarters, giving wide visibility to the project initiatives.
The Italia Patria della Bellezza Foundation guaranteed its patronage to the project and gave it visibility through its channels: https://www.patriadellabellezza.it/i-solisti-aquilani/
We also held specific meetings and signed specific memoranda of understanding with the University of L'Aquila which was responsible for supervising the monitoring action and with the Special Office for the Reconstruction of the Municipalities of the Crater (USRC) which contributed to give visibility to the Festival in the common calendar of the Crater municipalities https://www.usrc.it/attivita/cartellone-eventi-culturali-cec and supported the project since the initial press conference. Furthermore, USRC made an important contribution to the organization of the conference "Participation in the regenerative processes of villages, the case of Santo Stefano di Sessanio" which was held in he town of Santo Stefano di Sessanio on the occasion of the Castelli di Memorie Festival.
The Abruzzo Region and the Municipality of L'Aquila have granted free patronage to the project initiatives. The Municipality of L'Aquila, in particular, supported the initiatives and hosted the final press conference.
Furthermore, the CARISPAQ Foundation supported the project and guaranteed a portion of co-financing and hosted the initial press conference at its headquarters, giving wide visibility to the project initiatives.
The Italia Patria della Bellezza Foundation guaranteed its patronage to the project and gave it visibility through its channels: https://www.patriadellabellezza.it/i-solisti-aquilani/
Global challenges
The global challenge that we wanted to face with Castelli di Memorie is to build a more sustainable environment and communities. At a local level this manifested itself through the great attention of local companies in choosing organic and zero-mile products, in organizing exhibitions and markets with local companies and associations, valorising experiences, traditions and ancient knowledge rediscovered and carried forward by courageous artists, artisans and producers.
The podcast also represented an important element of this challenge, as it gave voice to many local representatives and experts on towns and sustainable development, tracing the identity of places through the telling of life stories, photographing the current situation of material and immaterial reconstruction without omitting critical issues and contradictions of the area which nevertheless represents the largest construction site in Europe (L'Aquila and the Municipalities of the Sisma Crater).
The podcast also represented an important element of this challenge, as it gave voice to many local representatives and experts on towns and sustainable development, tracing the identity of places through the telling of life stories, photographing the current situation of material and immaterial reconstruction without omitting critical issues and contradictions of the area which nevertheless represents the largest construction site in Europe (L'Aquila and the Municipalities of the Sisma Crater).
Learning transferred to other parties
The format of Castelli di Memorie Festival can certainly be replicated in other small villages in Abruzzo or in other internal areas of Italy and beyond.
It is important to stress that the construction of the Festival is preceded by a careful need analysis of the context, because what must emerge is a collective story in which voices, images, traditions of a territory are the framework for a concert by I Solisti Aquilani.
The process of building such events can be transferred as long as there is a great willingness on the part of local administrations and associations to get involved and become protagonists, not passive users of a show.
The final products can definitely be transferred to other contexts since the documentary video, photos and podcast are freely available on the project website and in particular the documentary video can be freely downloaded from YouTube and the podcast has been published on all the main multimedia platforms including spotify. The excellent result is, therefore, visible to everyone and is also supported by the results of the monitoring carried out by the University of L'Aquila. Castles of Memories can undoubtedly constitute a good practice in the field of cultural reconstruction in post-emergency territories.
It is important to stress that the construction of the Festival is preceded by a careful need analysis of the context, because what must emerge is a collective story in which voices, images, traditions of a territory are the framework for a concert by I Solisti Aquilani.
The process of building such events can be transferred as long as there is a great willingness on the part of local administrations and associations to get involved and become protagonists, not passive users of a show.
The final products can definitely be transferred to other contexts since the documentary video, photos and podcast are freely available on the project website and in particular the documentary video can be freely downloaded from YouTube and the podcast has been published on all the main multimedia platforms including spotify. The excellent result is, therefore, visible to everyone and is also supported by the results of the monitoring carried out by the University of L'Aquila. Castles of Memories can undoubtedly constitute a good practice in the field of cultural reconstruction in post-emergency territories.
Keywords
Music
Communities
Memories
Nature
Identity
