Chiudiamo in bellezza quest'anno di BLOG con il post relativo ad un estratto dell'articolo: " Buongiorno, sono un poeta, un poeta performer” di Dome Bulfaro poeta/performer (nonchè amico e compagno di palco...) , pubblicato dalla rivista di a rti e linguaggi this: In thinking No. 03, January / June 2010 www.inpensiero.it
I will try to trace the identity of the poet performer through the back streets of its ancient and
new trades. I will try to bring some examples on the basis of my own experience, convinced
that poetry is, first of all, do not write but to bring.
.......
TERAPEUTA
Canta che ti passa, la saggezza popolare non s’inganna. Sappiamo che il canto libera endorfine che ci permettono di superare la fatica (pensiamo ad esempio ai canti delle mondine, dei marinai o degli alpini); può trascendere in arte il dolore di un popolo (si pensi ai canti dei neri d’america); o mitigare il travaglio del parto intonando nenie e melodie, una pratica di parto dolce, usata in molti luoghi tra cui India e Marocco e che in Italia viene sperimentata for some years at the 'C. Poma 'of Mantova.
We are discovering that singing is an extraordinary form of autoanalgesia. But the practice of therapeutic proceeds, moving the child, even after its birth. The lullabies are sung or chanted of natural painkillers. For Gertrude Orff, scholar, wife and collaborator of the composer and pedagogue German Karl Orff, borrowing the words from traditional medicine, musical interventions on a child's nervous be classified into "homeopathic interventions" and "allopathic interventions."
poetry, if only because her sister's intimate singing is one of the most natural medicines and healing man has ever invented. The item, especially if the body gives to poetry, has therapeutic potential intrinsic: it is a medical aid to healing and self-healing that the ancients knew well and that the poet can bring forth every time you going to say poems aloud. While the poet can be a mediator to aggregate community, not be excluded that the artistic genres through poetry constant practice of care, even in hospitals. In the United States was founded in 1981 the National Association for Poetry Therapy (NAPT), which provides the professional credentials to bibliotherapy therapists and poets who have adopted their code of ethics, standards of practice, theories ; scientific body of knowledge in literature, psychology and group dynamics. Since 1986, the NAPT
has established a professional with a list of federal jobs and, in the same year, she joined the first federal bibliotherapy at St. Elizabeth Hospital in Washington.
If in the literature with Jolanda Insana "poetry can be medicine or carnal" and WH Auden's "In desert of the heart flows the fountain of healing," the poetry therapy, the current most powerful and less experienced of bibliotherapy, it breaks through the bed of the twentieth century aesthetic to retrieve a broader mandate, therapeutic miraculous and apotropaic, which has its roots in myth and finds symbolic reasons of Apollo at the same time the god of poetry and the father of Asclepius, god of medicine, in turn, art insegnatagli by the centaur Chiron, the son of Apollo honed to the point of knowing how to raise the dead. Historical sources instead identified in Sorano (first century AD), the first poet therapist, he used to prescribe tragedy for his manic patients and comedy for those depressed. In modern times, the father
founder of American poetry therapy is Eli Greifer, a poet, a pharmacist and lawyer, who from 1928 to 1966 began unceasing activities that promote the healing power of poetry: among the many ; initiatives organized the Village Arts Center, created the "Remedy Rhyme Gallery" and in 1950 started a group to poemtherapy Creedmore State Hospital.
In Italy we are culturally refractory to these research opportunities, imbued with the Historical immobility the nose at some new jobs. It is no coincidence that it is difficult to know whether they exist or have existed Italian experiences of poetry therapy in which the practices and results have been documented. "read with care" is one of the first actions of Italian poetry therapy Probably the most important nationally and across borders. It was launched in June 2009 with Ivan personally Sirtori, PoesiaPresente, Robindart Factory Foundation and Arbor and then proceed at the ' A. Manzoni "Lecco. In 2010 "Read with care ', thanks to Fabiano Alborghetti (Canton Ticino) and Patrick Gioia has developed a pilot activity Maggiore Policlinico Hospital in Milan and in all EOC (Hospital Cantonal Authorities) to Lugano, including the Civic Hospital and the Hospital Italian. "Reading, with care "is a project of reconciliation as a therapy with disease
through the administration, agreed with the doctors, of poetic postcards sent to patients or to caregivers of patients (doctors, nurses, AVO, receptionists, managers, administrators, auxiliaries).
The selected poems were composed by poets from Milan to the Hospital of the Canton Ticino for hospitals in Lugano and Brianza for the hospital of Lecco. The poetic treatment will be completed in all its parts by the end of 2010. The phases of administration sono, oltre a quelle già indicate, almeno tre:
1- La cartolina prevede lo spazio per affrancare il francobollo. La terapia poetica, così facendo, è nomade, inviabile da chiunque a chiunque, favorendo una cura ad effetto domino, che si diffonde come polline. Una delle “impollinazioni” più importanti è che il degente, spedendo a sua volta la cartolina ricevuta, assume il ruolo di medico.
2- I pocket di cartoline, che contengono le poesie scelte e stampate per i quattro ospedali principali, are placed in display in the lobby of the hospital so that relatives visiting their loved ones can donate them for free.
3 - postcards or some of them become of the paintings to be placed in agreed areas (corridors, wards, lobby, waiting rooms) to become permanent hospital furniture. The poetic treatment involves as many people as possible sign of action in both individual
(patients), parental and community. The therapist will soon become a poet second job that will allow the poet a research practice by boundaries never or little explored.
TRANSPERSONAL
The stamp is the fingerprint of an item. But the imprint of an item such as photographs that are held in our identity cards, changing. The identity of speech - written in "Sounds of the soul " Veronica Vismara, Lorenzo Pierobon, singer overtone singing - there is also other features such as "thin", it " apparent in the birth of the individual and evolves with its physical growth, emotional and spiritual are three components that form the basis of the Identity Voice: (...) perceived voice (...) structured voice, (...) authentic voice ' .
The lack of awareness of our ability vocal, emotional and physical trauma that sticks in our act, speech, listening to obscure our authentic voice. In
collective practices of harmonic singing the most profound experience for me - at first shocking, then summer - and the loss of personal identity in favor of a "transpersonal transverbal" in minutes group reaches a state of consciousness privileged, which transcends the boundaries of the body epidermis. Each item is delivered by an inner journey that leads them to the authentic voice personal and transpersonal. The poem said aloud, where the performer is aware of and responsible for its own funds, may lead to the formation of an identity that transpersonal contributes to the growth of the community. The poet recovers performative ritual in a social mediator in some ways analogous to that of African griot.
One of the most common poetic forms in which the poet may have another second job (the Emcee), not discostandosi dal ruolo di mediatore culturale, è il poetry slam, gara di poesia ma anche rito di aggregazione nel segno della poesia. L’EmCee (MC), il Maestro di Cerimonia del poetry slam, direziona l’azione poetica e sociale di un poetry slam o di uno slam poetry (che dir si voglia), egli ha tutti gli strumenti per veicolare il messaggio che più reputa in linea col proprio sentire nel rispetto del contesto in cui andrà ad agire. L’importante, come dice Lello Voce, è che non vengano mai meno i tre cardini che animano il poetry slam: i poeti, la giuria rigorosamente popolare (e non istituzionale) e un pubblico critico, attivo, interagente, che vuole e sa darsi voce.......
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