Place, Culture and Identity: an historical and ethnographical study of Pizzica and Tarantism in Salento. Completion of a monograph for Peter Lang.

本研究项目是对意大利南部萨伦托发现的皮兹卡音乐和舞蹈以及相关的塔兰教仪式的历史和民族志研究。研究问题考察地点/地点，文化生产，个人和区域身份之间的关系。这将通过从包括性能和文化研究的一些学科的理论框架;人类学和民族志;医学史和文化地理。Tarantism是一种治疗性的舞蹈仪式，有文字记录可以追溯到15世纪。在tarantism中，“受害者”，或tarantata，被认为是被蜘蛛咬了，最常见的是狼蛛，然后福尔斯陷入昏睡状态。他们通过跳舞来“治愈”这种疾病，以回应当地的音乐形式，pizzica，这有助于“出汗”他们体内的毒素。人们通常认为，蜘蛛不一定是“真实的”，但它的咬伤和随后的疾病成为一个隐喻和躯体表达应对社会经济压力的生活在意大利南部农村。这也是社区的集体治疗体验，他们聚集在一起分享舞蹈的“治疗”，可以持续三天。从世纪到今天，大量历史学家、医学家、哲学家、社会学家和人类学家对这一仪式进行了大量的书面记录。对这些历史观点的研究为每个时期不断变化的科学和哲学范式提供了一个迷人的洞察力。 虽然仪式的表演现在很少见，但比萨音乐和舞蹈在萨伦托已经复兴，这导致了一个新传统的发明，新塔兰主义。这在一定程度上是由于该地区研究人员响应埃内斯托·德·马蒂诺（Ernesto de Martino）开创性的人类学研究（1961年）而产生的影响。新塔兰主义现在被萨伦特人用作一种区域身份和文化抵抗的形式，通过神话化的与过去的联系，以及通过引入新的音乐和舞蹈节，唱片公司以及将比萨饼音乐与当代形式（包括说唱，雷鬼和嘻哈）融合来煽动社会经济转变。这个研究项目涉及到历史学家，医生，教会人物和人类学家对仪式的历史记录的检查，以及我从2001年到2007年到萨伦托实地考察的材料，即采访，节日的文件，以及我自己学习和练习音乐和舞蹈的经验。这将允许一个历史的方式，其中仪式已被占用的作家，以及对新塔兰主义的萨伦托内的新传统的创造调查，研究如何增加旅游业正在影响文化生产，以及个人和地区的身份，通过对音乐和舞蹈的兴趣。因此，我作为一个研究者的地位和责任也在研究中受到质疑。这项研究将在与彼得·朗的合同下完成一部专著，题为《狂欢，狂喜和悔恨：萨伦托的蜘蛛之舞》，并将向《新戏剧季刊》提交一篇文章，专注于pizzica scherma，一种尚未用英语写过的舞蹈形式。由于该项目的跨学科性质，这些产出将吸引许多学科的广泛学者。我自己的学术和专业培训和工作一直在表演，文化研究，人类学和民族学领域，因此我处于一个很好的位置，承担这种跨学科的工作。我也受过音乐和舞蹈的训练，可以在专著中对两者进行详细的分析，这在这种性质的研究中是不寻常的，但就仪式中它们之间的关系而言，这很重要。

This research project is an historical and ethnographical study of pizzica music and dance, and the related ritual of tarantism, found in Salento, southern Italy. The research questions examine the relationship between place/site, cultural production, and personal and regional identity. This will be framed through theories from a number of disciplines including performance and cultural studies; anthropology and ethnography; medical history and cultural geography. Tarantism is a therapeutic dance ritual, with written records dating back to the 15th Century. In tarantism, the 'victim', or tarantata, is supposedly bitten by a spider, most commonly the tarantula, and falls into a state of lethargic trance. They are 'cured' from this by dancing in response to an indigenous form of music, the pizzica, which helps to 'sweat' the poison from their bodies. It is usually acknowledged that the spider is not necessarily 'real', but its bite and subsequent illness become a metaphor for and somatic expression of coping with socio-economic pressures of life in rural southern Italy. It is also a collective therapeutic experience for the community, who come together to share in the 'cure' of the dance, which can last for three days. There is a continuity of extensive written records about the ritual from the 15th Century to today, by a rich array of historians, medical practitioners, philosophers, sociologists and anthropologists. A research of these historical views offers a fascinating insight into the changing scientific and philosophical paradigms of each period. Although performance of the ritual is now rare, pizzica music and dance have been revived in Salento, which has resulted in the invention of a new tradition, neo-tarantism. This was developed in part by the influence of researchers in the region in response to Ernesto de Martino's seminal anthropological study (1961). Neo-tarantism is now used by Salentines as a form of regional identity and cultural resistance through a mythologized link to the past, as well as instigating a socio-economic shift through the introduction of new music and dance festivals, recording labels, and a fusion of pizzica music with contemporary forms including rap, reggae, and hip-hop. This research project involves an examination of historical records of the ritual by historians, medical practitioners, ecclesiastical figures and anthropologists, as well as inclusion of material from my field trips to Salento, from 2001 to 2007, namely interviews, documentation of festivals, and my own experience of studying and practicing the music and dance. This will allow for both an historical overview of ways in which the ritual has been appropriated by the writers, as well as an investigation into the creation of the new tradition of neo-tarantism within Salento, examining how the increase in tourism is affecting cultural production, and personal and regional identity, through interest in the music and dance. Thus my own position and responsibility as a researcher is also under interrogation within the study.This research will culminate in a monograph under contract with Peter Lang, entitled 'Ritual, Rapture and Remorse: the dance of the spider in Salento', and an article to be submitted to New Theatre Quarterly, focusing on the pizzica scherma, a martial form of the dance which has not been written about in English. Due to the interdisciplinary nature of the project, these outputs will appeal to a broad range of scholars across a number of disciplines. My own academic and professional training and work has been within the fields of performance, cultural studies, anthropology and ethnology, thus I am in a good position to undertake interdisciplinary work of this kind. I have also trained in both music and dance, and can offer a detailed analysis of both within the monograph, which is unusual in a study of this nature, but important in terms of the relationship between them within the ritual.