[Pettarin Francis, founder of Cinema Maxentius]
I arrive signals.
the streets Rome posters announced that on June 21 back to the Roman Summer.
send a SMS to announce that Alex Voglino, director of the department of cultural policies of the municipality of Rome, during the press conference of 'Estate Romana, laments the lack of Maxentius. Andrea Garibaldi
Corriere della Sera in an article in which, after acknowledging the richness of the proposed new edition of the Roman summer, so raises a "however" at the lack of originality of the proposal.
In the same article mentions Andrea Garibaldi me, or rather mentioned that the century of Italy for about a year ago reported what has been said to me that, at the request of ' Department of Cultural Policies of the municipality of Rome Umberto Croppi addressed to intellectuals and professionals to contribute suggestions for the renewal of the City intervention in culture, I replied, sounding defiant, I'd like to compare with a proposal for a strong sign that direct somehow the reflection, that simplification has become a journalistic "do something right."
's Department of Cultural Policies of the municipality of Rome, Umberto Croppi, in reply to Andrea Garibaldi, says he is not an expert of topography and having problems to deploy actions left-right axis. In the same answer
Assessor Croppi makes two claims, the first that what we are trying to do is to bring Rome in the international circuits of culture and art, and the second that the request matches the originality of Garibaldi's demand for "policy" of Guareschi memory.
The first temptation is to caress one of my many cats and dismiss it all as yet another example of 'selfishness and arrogance that characterizes politicians and administrators in the era of television, so all that is in some way belongs to them (so there is no record) and all, do not say the critics, but simple question becomes a partisan ruling and will disturb those who work for the good of the city, region, country.
Maybe I would have been disenchanted with friends this season trial of a couple of jokes on the liquidation of the obvious statements about the timing of our directors or by the need to warn the cops every time our Councillor gets behind the wheel. Moreover I have no interests to defend and I think I've earned reputation for intellectual honesty in more than thirty years of "career" in the organization of cultural events in this city. But I have against the Councillor
Croppi a preliminary estimate, motivated by his speech, almost two years ago when it was still engaged in institutional positions, the transmission of "We are history" during the revival at the Coliseum of Napoleon by Abel Gance that we organized for thirty years the Roman summer. I then thought that his words deserve explanation because somehow they resumed things said in that interview and then I had already made me want to speak with him. Forgive me
Assessor Croppi, but then I imagined a young right-hand turn to the events of 'Estate Romana and wonder why the left should bring consensus as to contain content that were dear to him in a way that he shared, in my opinion, committed an error of perspective, and then commits it di nuovo oggi: non solo Nicolini era di sinistra (e noi tutti che lavorando intorno a lui contribuimmo a dare sostanza ad un’intuizione) ma la sua “invenzione” si inscriveva perfettamente nel dibattito che in quegli anni attraversava la cultura di sinistra che usciva dal marasma del sessantotto e che vedeva contrapposte la visione marcusian-pessimistica su modernità e capitalismo (Idra dalle cento teste, impossibile da colpire a morte e verso cui opporsi era un atto splendido ma inutile) a quella lukaccian-pedagogistica per cui la funzione della cultura era quella di far prendere coscienza al popolo e farlo schierare per la rivoluzione (nel caso specifico fargli votare Partito Comunista).
Un gruppo di giovani, direi giovanissimi intellettuali (Alberto Abruzzese was then little more than thirty years old), tried to combine a love of modernism, which he considered an essential component of Marxism, and critique of a system based on discrimination and exploitation, Walter Benjamin seemed the right tool for a critical of capitalism that does not throw the baby (technology development and new opportunities for democracy) with the bath water because of a system of privilege and exploitation.
It was quite natural if not inevitable that this position meets with the work that the commissioner by Nicolini went to Rome to bring to the surface the many experiences of underground culture in the city, making them accessible to an audience of mass.
This could only create a strong rejection by both the traditional left who saw the central role of the party and his vocation as educators of the masses, and in that movement that considered a betrayal of all forms of search for new balances that were not result of revolutionary action, we were attacked by all. Cederna the columns of the Corriere della Sera it imputed a criminal use of monuments, within the communist party we were accused of not fighting for a shift in popular culture that he saw his strong point, was accused of Maxentius equate the great cinema with the garbage coming from overseas, Frigidaire magazine which had formed part of our amici più legati al “movimento” organizzò addirittura una sorta di anti Estate Romana dall’eloquente titolo “Miseria”, tutto questo è però la conferma di quanto tale dibattito fosse assolutamente interno alla sinistra e di tale area politica assumesse i presupposti, le modalità, i contenuti. Gli attacchi della destra non erano nel merito, che non veniva assolutamente riconosciuto, ma sul piano della correttezza amministrativa o su quello della moralità e del disturbo della vita cittadina.
Effimero e riscoperta del centro storico i mezzi, svecchiamento delle pratiche cittadine e rilancio dei consumi culturali gli obiettivi. Ma sopra tutto una cornice inequivocabilmente di sinistra: il diritto per tutti di godere di spazi ed azioni fino ad allora riservate ad élite.
Con il tempo le punte più aspre della polemica si andarono assottigliando, la sinistra comprese l’enorme potenziale di creazione di consenso che le manifestazioni estive rappresentavano, tanto da inventare una ragione compatibile con il proprio apparato: gli anni di piombo avevano chiuso in casa la gente che con l’Estate nicoliniana ritrovava luoghi di aggregazione (quanto sempre odiosa ci è stata questa etichetta buttataci addosso!), anche la destra smorzò le polemiche soprattutto là dove il consenso era così alto da rappresentare un sicuro lasciapassare per il cuore dei politici.
Non a caso un attento critico vicino alle nostre posizioni Guglielmo Pepe in 1982 he wrote an article entitled "Wrinkles Romana" where caught in the excess of public acceptance of the symptoms of a cultural policy that was beginning to show signs of fatigue. In fact, the Estate Romana had ceased to be the left had become a national heritage, it was all in it for mixed groups from political and cultural constraints made it the choice of any of the places almost obligatory, remained the major function of service to city.
I apologize for the long break of memories but I think that to understand the meaning of what I will not be avoidable.
For too long our city is not living a kind of cultural renewal, the big concerts Free junta's Notte Bianca Walter Veltroni and the same time marked as addressed to the past to grasp the mood of the generations that are growing,
correctness administrative and general consensus have replaced the desire to make healthy renewal of the scandal that should always characterize the cultural offerings of innovative, my impression that the administration had left too identified herself, their moods, their priorities with those of the entire city losing sight of the conflict, the conflict also are strong that the lifeblood of democracy, mainly cultural, in other words the unpleasant feeling that politics had made a step back and do that in the Roman Summer were the offices, which became operational by operators themselves, the odious smeccanismo for this to work the call for cultural activities, fake instrument of democracy which serves only to make practicable bureaucratic logic.
In fact, if we want the lack of courage was not used to fund the large element of cultural innovation that Mayor Veltroni and Alderman Borgna the data were "homes" of jazz, theater, cinema, the auditorium as House of Music, that is, the output from the ephemeral with a network system in which each node becomes driving force for others and for those reality which, fortunately, the system they want and need to stay out.
The defeat of the center left and the change of the junta are not definitely been inspired by this, but just as certainly we were faced with a problem that had to be interpreted. In a good democracy
alternation is healthy, the enemy is no longer demonized, no longer thinks that will not prisoners. From
change even if we can penalize in any case be positive elements.
A positive thought I would follow led to our defeat was that the new commissioner would not hesitate and eliminate Film Festival, against whom the right time had thrown the election campaign, and finally the Roman Summer.
Non solo, speravo che l’assessore Croppi desse un segno forte, non di tipo contenutistico ma di sistema alla nuova politica culturale, rispetto al quale noi, operatori culturali di sinistra, ci saremmo in qualche modo confrontati per renderla non più la proposta dell’assessore Croppi ma un patrimonio di tutta la città. Questo non è avvenuto. Non solo mi trovo di fronte ad un cartellone dell’Estate Romana che trasuda, credo e spero non volute, logica spartitoria e normalità burocratica da tutti i pori, ma l’Assessore per difenderlo invoca efficienza e spirito ecumenico.
Non credo sia sostenibile, come l’Assessore lascia intendere, che Roma fosse fuori dai grandi circuiti internazionali dell’Arte and Culture, I would say that the weakness of this Roman Summer, fully revived in the new edition is being totally internal to the logic circuit for which the city ends up being simple stage of the Tour of artists and exhibitions and festivals, and born elsewhere given here without any added value.
Eliminate Estate Romana that this symbol of courageous will of renewal has become a mechanism for standardization and bureaucratic logic divider.
the other hand, place the Roman summer in its golden age was the territory of the city and its instrument the ephemeral architecture, culture lives today more and more network and virtual spaces.
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