Segmento Magazine Issue XII

Issue XII

March/May 2017

The inspiring

story of

Alfredo Santo Recipe Pane Cafone

Inside speciale

moda

insight on

Italian

wine Interview with

Max GazzĂŠ

www.segmento.com.au

WE ARE IGGER

ING B

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WHO ARE WE

“There is nothing more temporary than a permanent immigrant!�

An immigrant is always looking for a home, the further away they are, the stronger is their quest for a home.

Italians always have had their roots deeply planted in their millenarian culture but they become completely oblivious to the fact that they have packed their historic and rich inheritance into their luggage when migrating to Australia.

We like to hear their stories, we provide them with a forum to articulate their views, whether they are multinational enterprises, successful business people or young disoriented talents.

Segmento aims to be the megaphone of the Italian Australian community. Its objective is to become the vital link between their Italian roots and the new culture of multi ethnicity that prevails in Australia.

Daniele Curto Founder and Managing Director

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Contributors 1.Omar D’Incecco omardincecco@gmail.com

2.Ilaria Gianfagna ilaria@justaustralia.it www.justaustralia.it

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3.I. E. Laudieri Di Biase @ElaudierLaudier

4. Marco Maria Cerbo (Consul General of Italy)

5.Agata Grimaldi agata.grimaldi@googlemail.com

6.Ivano Ercole editor@segmento.com.au

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7.Archimede Fusillo www.archimedefusillo.com

8.Elizabeth Wisser & Enrico Massei enquiry@amalsa.com.au www.amalsa.com.au

9.Jenna Lo Bianco jennalobianco@hotmail.com

10.Deirdre MacKenna

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projects@dmackenna.com www.culturaldocuments.net

11.Gerardo Papalia gerardo.papalia@monash.edu

12.Johnny Di Francesco ­ johnnydifrancesco@segmento.com.au

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13.Bernadette Novembre b.novembre@hotmail.com

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­14.Laura D’Angelo lauramartina.dangelo@yahoo.it www.thealrightplace.wordpress.com

15.­Bronte Dee Jackson bronte@brontedeejackson.com

16.Daniele Foti-Cuzzola dinewithdaniele@gmail.com

17.Mariantonietta Rasulo rasulo.mariantonietta@gmail.com

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18.Josie Gagliano josiegags@optusnet.com.au

JENNA LO BIANCO

Founder and Managing Director Daniele Curto

EDITORIAL

daniele.curto@segmento.com.au 041 8891 285

Associate Editor Ivano Ercole

Ellis Island, New York Same journey. Different destination

editor@segmento.com.au

Graphic Artist Aurora Delfino

design@segmento.com.au

Creative Consultant Imbarani Poonasamy Photographers Paco Matteo Li Calzi, Daniele Curto, Ksenia Belova,

Jonathan Di Maggio For features, articles and editorial submissions: segmento@segmento.com.au

For advertising equires please contact:

marketing@segmento.com.au 041 8891 285

Cover photo credits Photographer

Jonathan Di Maggio www.jonathandimaggio.com

Translation Support Jenna Lo Bianco

Proof Reading Sarah Pradolin

Contributors

Agata Grimaldi Laura D’Angelo Ilaria Gianfagna Archimede Fusillo Marco Maria Cerbo (Consul General of Italy) Ivano Ercole Elizabeth Wisser Enrico Massei Gerardo Papalia Deirdre MacKenna ­Johnny Di Francesco ­ Bronte Dee Jackson Fabrizio Battisti I. Elenoire Laudieri Di Biase Omar D’Incecco Daniele Foti-Cuzzola Josie Gagliano Mariantonietta Rasulo Jenna Lo Bianco Bernadette Novembre Ciriana

DISCLAIMER The Editorial-Staff ensures that every details are correct at the time of printing, however the publisher accepts no responsibility for errors and inaccuracies.

Segmento media partner

Global Association of International Artists

Global Association of International Artists

O

n a recent trip to the US I was humbled to explore Ellis Island’s National Museum of Immigration. The harsh conditions of the New York winter melted away as I stepped inside the warm and welcoming lobby. After catching my breath, I stopped to admire the world I had stepped into. Millions of hopeful immigrants had to withstand gruelling transit conditions with no guarantee of security in the US. Ellis Island, one of America’s largest migration processing centres, exists today as a testament to the 12 million men, women and children who dared to dream for a better life in America. Disused since 1954, the island’s facilities underwent significant redevelopment and restoration to enable the development of the National Museum of Immigration in 1990. One of the first things you see upon entering the museum is a collection of old tattered suitcases. They stand as symbols of courage and determination that have lasted the test of time. Visitors are guided through the museum via a series of rooms, each more profound than the last. Overall, the exhibits are simple; perhaps with the intention of conveying poignant messages rather than overwhelming visitors with smoke and mirrors.

My nonne have never shied away from telling me stories about their experiences migrating to Australia. Their stories, although different from the American experiences, have similar undertones of uncertainty, hope and fear. As I made my way through the exhibition rooms I was humbled by the stories and faces that met me at every turn. It felt as if I were walking through the pages of my own family history. Black and white photos have an eerie way of seeming familiar and I found myself trying to find familiar faces amongst the exhibits. Even though immigrants from all nations are represented equally in the museum, I couldn’t help but find myself drawn to the Italian experiences.

Migrating to America offered freedom and peace to many, however, arrival on Ellis Island did not guarantee you confirmed clearance; a lesson learned by many ‘aliens’. Once docked, passengers were subjected to medical inspections which examined not only one’s physical health, but also mental state. Any arrival who required medical intervention was either treated at the Ellis Island hospital, or was returned to their homeland without appeal. Similarly, arrivals were interrogated to ascertain their eligibility to land. It was often harsh and heart breaking.

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Given the range of nationalities that docked, communication between the processing staff and immigrants posed certain challenges. These exchanges took place in the Registry Room, also known as the ‘Tower of Babel’. I was particularly taken by the experience of one interpreter, Edward Ferro: “It would happen sometimes that these interpreters – some of them – were really soft-hearted people and hated to see people being deported, and they would, at time, help the aliens by interpreting in such a manner as to benefit the alien and not the government,” a plaque reads.

A common Italian migration experience in Australia’s history is that men were often the first to migrate, followed later by women and children. The separation was often as a means of establishing work prospects, financial stability and housing; this was the case for the Italo-American migration history. Policies were in place to protect unescorted women and children who arrived on Ellis Island. Women and children were detained until a member of their family with relevant documents arrived to release them. Similarly, unmarried women had to be collected by an immediate family member. A large number of marriages were performed on the island as a way of meeting the release requirements.

Despite the tough arrival conditions, immigrants processed at Ellis Island were granted greater liberties than many others seeking refuge and security on today’s waters. It is heart-warming to know that facilities like the National Immigration Museum exist to preserve the stories and celebrate the positive impact that immigration can have.

We should all take stock of the process of immigration itself and appreciate the courage required to seek a better life, liberty and justice.

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CONtents

18 Speciale Moda

35

COVER STORY If will, passion and vision are there…

The inspiring story of Alfredo Santo

28

18

Ivano Ercole

Top Australian fashion designer Aurelio Costarella

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Speciale Vino

Daniele Foti-Cuzzola

Culture Bites

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The way Italians dress to suit their silhouette Bronte Dee Jackson

The Granny’s Pearls The prelude of a captivating story

26 22

Ciriana

31

The “bubbling up” of Prosecco In the Australian wine market Josie Gagliano

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The rise of Italian wine from the ashes of the methanol scandal Our correspondent in Italy Omar D’Incecco

Regulars Amalsa “General Skilled Migration Program” Enrico Massei and Elizabeth Wisser

Roots&Routes The 60th anniversary of the treaties of Rome Marco Maria Cerbo (Consul General of Italy)

10 17

Recipe “Pane Cafone” World Pizza Champion Andrea Cozzolino

A Future in their Past The broken dream of an Italian family Archimede Fusillo

8

Our correspondent in Italy I. Elenoire Laudieri Di Biase

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The “art” of making Arancini

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Erika Lancini: creativity knows no boundaries

36 35

When David met Sallie

28

Exclusive interview with top Italian singer Max Gazzé

Laura D’Angelo

Bernadette Novembre

11

Discovering the food treasures of Melbourne Ilaria Gianfagna

Laura D’Angelo

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Hands on Fire The rise of fresh produce Johnny Di Francesco

A woman rises to a top office in the most male-dominated state in Europe

Jenna Lo Bianco

The compass of our rights Medicare Mara Rasulo

Features

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Italian archeologist helped revive an ancient Aboriginal cooking method Laura D’Angelo

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Stockist list

38 Segmento Magazine March/May 2017

words World Pizza Champion Andrea Cozzolino PHOTO DANIELE CURTO

How to make a toothsome Neapolitan style peasant bread called

“pane cafone” Having made bread since I was a child, I am happy to share the secrets of a traditional bread called pane cafone, which is native to my homeland.

Pane cafone is a Neapolitan style peasant bread that is particularly fragrant and tasty, and easy to digest. It has an elastic and soft centre, with a thick, dark and crisp crust. It keeps for three to five days.

My recipe is about the flavours of my homeland, including Caputo flour, which is made in Naples. It is best to prepare the dough the day before, allowing it to rise overnight and then cooking it in the morning. At my restaurant, Zero95, we make pane cafone every morning following this recipe.

INGREDIENTS 1kg good quality flour (I use the red bag of Caputo Flour, known as Rinforzato, as it is gluten-rich and suits long rising; resulting in a flavoursome, full-bodied dough) 700ml water (not too cold) Y

2g fresh yeast 30g salt 30g biga or natural starter such as Caputo Criscito

Method Dissolve the salt in the water. Add half the flour, then the starter and yeast. Using your hands, mix well, slowly adding the remaining flour, until it starts to come together. Work the dough on a lightly floured surface, kneading until smooth and springy. Set aside to rest for at least three hours as it needs to double in size.

Place the dough on a well-floured surface and fold the dough to strengthen it so the yeast will grow. Using your hands, elongate the dough into a rectangular shape, then turn it over the first side towards the centre and do the same with the other side, overlapping it. Turn the dough, stretch it a little and redo the folds as before, folding the ends to the middle. Let the dough rest for 15-20 minutes. Make the folds again and leave to stand for another 15-20 minutes.

Divide the dough in half to make two loaves, then bake for 25 minutes at 220˚C.

Buon APPETITO! 8 FOOD&WINE

“Caputo flour extends well beyond pizza.

It’s what I choose when making my bread and focaccia too.”

Andrea Cozzolino

WINNER 15th Trofeo Caputo APN Campionato Mondiale del Pizzaiuolo Naples Italy September 2016

Basile Imports prides itself on importing the best.

For more information contact Basile Imports on national toll free no 1800635268 or email marketing@basile.com.au

www.basile.com.au

www.basile.com.au

words I. E. LAUDIERI DI BIASE (our correspondent in Italy)

A woman rises to a top office in the most male-dominated state in Europe

W

ith a few exceptions, men continue to monopolize all positions of power. Not just in politics but in all major industries and institutions, including those preserving, managing and displaying art collections. It is a fact that most of the world’s great museums and galleries remain firmly under male control. The directors of the British Museum and the National Gallery in London, the Prado in Madrid, the Louvre in Paris and the Metropolitan Museum of Art in New York are men. In Australia, where the so-called “affirmative action” contributed significantly to women’s progress in the workplace, the three largest national galleries—in Canberra, Melbourne and Sydney—are still headed by men.

Yet paradoxically enough, the most male-dominated state in Europe has appointed a woman to the top position of its world-famous art collection. On 1 January 2017, the fifty-four year-old Italian art historian Barbara Jatta became the new director of the Vatican Museums, succeeding the seventy-seven year-old Antonio Paolucci. A wife and mother of three children, she has served as Vice-director of the museums since June 2015 and has a track record of dozens of scientific publications and internships in different countries around the world including Portugal, England and the United States.

This is not as surprising as it seems. The Vatican may be one of Europe’s last surviving medieval city states, run by cardinals and policed by Swiss guards with spears but, as far as art is concerned, it has a history of unexpected modernity. It is the only religious institution collecting works by atheist artists. The modern gallery of the Vatican Museums proudly displays a grotesque

10 CULTURE

painting of a suffering pope by the defiantly godless Irish-born painter Francis Bacon. That is probably the most provocative presence in a sensitive and imaginative collection, of modern religious art that includes Van Gogh’s “Pietà” and paintings by Dalí and Picasso.

The Vatican Museums consist of a network of collections that fill a large part of the Vatican itself. Queues of visitors often stretch along the papal palace complex. The cornucopia of art includes the Pinacoteca—where such paintings of Leonardo da Vinci’s “St Jerome” and Caravaggio’s “The Entombment of Christ” hang—and numerous archaeological collections that have everything from giant bowls from Nero’s palace to an extraordinary Egyptian art installation from Emperor Hadrian’s villa.

At the heart of it all is the Belvedere courtyard, one of the oldest extant art galleries on earth.

Here stand some of the most renowned masterpieces of classical sculpture including the iconic statue of Apollo Belvedere. In the 18th and 19th centuries, this was the most hallowed destination of the Grand Tour. Young aristocrats from all over Europe came to see this statue which was regarded as the most beautiful statue ever made. Looking at it, it is easy to understand where Michelangelo took inspiration for his David. After paying ancient art its due reverence, visitors can make their way towards the climax of the Vatican Museums–the Rooms of Raphael and Michelangelo’s Sistine chapel.

In recent years, the big challenge for this museum has been to

words Johnny Di Francesco

HANDS ON FIRE The rise of fresh produce In the Australian kitchen

“

Fresh produce” has become a buzzword in the last few years, but for a chef, fresh produce is not a trend–it’s our lifeblood. The plated food you serve your customers is only as good as the quality of the produce used in a kitchen.

At Gradi Group, one of the most exciting things about the produce we source is that there is a whole lot of Italian culture that goes along with it.

PREVIOUS PAGE The recently re-opened Vatican Museums’ New Wing (Braccio Nuovo) ABOVE The statue of Apollo Belvedere

TOP ART MUSEUM ATTENDANCE 2015 1 Louvre, Paris

8,600,000

2 British Museum, London

6,800,000

3 Metropolitan Museum, New York

6,500,000

4 Vatican Museums, Vatican City

6,000,000

cope with its colossal crowds in spaces that were originally designed for cardinals and popes to spend time in. Measures have had to be taken to preserve the Sistine frescoes at risk from the sheer number of people passing through. Jatta will no doubt have to wrestle with these problems as her predecessor has.

Her appointment coincided with the reopening of the Vatican Museums’ New Wing (Braccio Nuovo). Commissioned by Pope Pius VII, the 19th-century gallery was designed by the sculptor Antonio Canova to house the repatriated papal collections of classical sculpture, plundered by Napoleon during his Italian campaign. The 68m-long marble corridor and its 150 statues have been under restoration since 2009 in a project funded by the Vatican City State and the Patrons of the Arts in the Vatican Museums.

For years, Italian produce has been an unsung hero in the Australian kitchen, but that’s changing. Italian fresh produce is varied and delicious, and I have been so pleased to see a variety of Italian vegetables in particular make their way into Australian vernacular. Cavolo nero, or Tuscan Cabbage, has become a widely-used ingredient in both restaurants and homes around the country. San Marzano tomatoes are another great example (although yes, they are technically a fruit). Considered the best of its kind by chefs around the world, this humble tomato is steeped in history, and originates from the town of San Marzano sul Sarno where it was first grown in volcanic soil in the shadow of Mount Vesuvius.

Legend has it that the first seed of the San Marzano tomato came to Campania in 1770 as a gift from the Viceroyalty of Peru to the Kingdom of Naples, and was planted at the base of the mountain. It’s this kind of historical link that makes Italian produce so very special. Designated as the only tomatoes that can be used for Vera Pizza Napoletana (true Neapolitan pizza), they are also obviously of special significance for me!

But it’s not just fresh produce that heroes a dish or makes for great eating. Don’t get me started on how incredible Italian diary produce is because I may never stop! The increasingly widespread popularity of Italian cheese such as “burrata” and “mozzarella di bufala”, brings even more ancient Italian produce to the fore of modern cooking, and the inclusion of mascarpone or ricotta in desserts is practically mandatory!

This merging of very traditional, very historic produce with the demands of today’s increasingly savvy palate is something that thrilaf to his very core.

Everyone uses produce differently, and everyone has their favourites, but freshness and quality are the key elements, regardless of one’s preferences.

As we head into summer, sometimes the best way to enjoy some of our finest Italian produce is the simple way. Simple but flavour-packed dishes such as a fresh, zingy Caprese salad truly lets the produce speak for itself. That’s all the speaking that needs to be done because those you are feeding will be left speechless.

Send your questions to Johnny at: johnnydifrancesco@segmento.com.au FOOD&WINE 11

WORDS Laura D’Angelo

When David met Sallie The unique experience of six Australians visiting Italy with a whole family of tour operators

S

allie had previously visited Italy years before, and stood in front of Michelangelo’s David just enough to admire its stunning beauty before rushing to other must-sees Florence had to offer. She couldn't imagine that her next trip to Italy, in September 2016, would have brought her there again at the statue's feet to stay longer, captivated by the contagious passion her new guide, Mario, transmitted her, together with copious amounts of historic and artistic details she had ignored.

Mario Vitellone, the guide in question, is a Melbourne-based tour operator who organises - with his wife Viny and with their son Gianni — personally guided and small group tours of Italy. Vita Italian Tours, together with their other family business Pronto Travel, has just recently celebrated the opening of a new office at 1/25 Little Oxford Street, in Collingwood, Melbourne.

Sallie was a member of a group of eight Australians who took part in a trip to Italy organised for them by Vita Italian Tours.

12 TRAVELLING

To guide and assist them there wasn’t just Mario, but also his wife and son; a whole family of tour operators committed to making this trip an unforgettable one. And so it was.

Sallie and two other members of the group, Vicki and Shirley, were happy to share with us some of the most beautiful moments of their experience.

After seeing Michelangelo’s David, the group went off the beaten track to reach Gubbio, a medieval town in the northeastern part of the province of Perugia.

“We were invited to take a ride up to Mt. Ingino – recounts Sally - where the majestic Basilica of St. Ubaldo is located, via a cable car, actually a cross between a bucket and a Birdcage that would properly fit one person, though it fitted two. Waiting for us at the top was a long table set for lunch, overlooking a stunning panorama of terracotta roofs, popping up like mushrooms between scrubby mountains and olive tree plantations.”

If she was alone, she would have probably wandered around aimlessly, without taking much care of the century old cobblestone pavements or the countless hidden backstreets Assisi is full of

Sitting at that table and consuming a great variety of different plates, Sallie also had a chance to build long-lasting bonds with her travel companions. She couldn't help but notice and laugh at the ironical jibes between Mario and his son Gianni, reminding her so much of her relationship with her daughter. A sense of deep familiarity suddenly hit her. It felt like home.

For Vicki, if she were alone, she would have probably wandered around aimlessly, without taking much care of the century old cobblestone pavements or the countless hidden backstreets of Assisi, the birthplace of St. Francis. Viny winked at her, and soon Vicky understood that something special was about to happen.

The group turned into a narrow alley, walking in the penumbra as souls in Purgatory waiting for the Divine Light. And then it came, in the form of a sunny terrace that made Vicki rub her eyes. The dazzling blue of the sky was perfectly shaping the hills and the trees scattered in the horizon, and

PREVIOUS PAGE Sallie and Vicki with Gianni and Tour Group in Urbino Le Marche ABOVE Sallie Schorer making Tagliatelle LEFT Shirley in the Dolomites CENTRE Viny and their son Gianni.

Photographer Daniele Curto RIGHT Vicki with Street Performer Florence

while the group members were ecstatically gazing at the multiple shades of green of the Italian countryside, a vivacious bell rang. It was Gianni, the gorgeous young guide, who announced impatiently: “Aperitivo's time!”

The charming proprietor of the terrace bar arrived with a tray loaded with iced Aperol Spritz, finally bringing them a fresh twist in the late summer heat.

If it weren’t for the Vitellones, Vicki would have perpetuated, as many other fellow citizens, the mistake to solely associate Italy with Tuscany, ignoring the beauty of the other regions. Without her tour leaders, she wouldn't have visited the astonishing Urbania, a town 100 km north from Assisi, in Le Marche region. Nor experienced the soporific atmosphere that wraps the town after lunch, when all the locals shelter in their homes for an afternoon nap, like a breeze of peace in an unknown corner of paradise.

In that early afternoon and realising to be the only travellers around, Vicki felt so accomplished and content that the idea to head back to the overcrowded Florence scared her for a while. But there again, as if reading her mind, Viny appeared like an angel, and softly tapping her shoulder, moved Vicki's attention to the shining windows of the local botteghe displaying traditional Maiolica ceramics, a craft dating back the 16th century. So much beauty to contemplate and no queue at all!

For Shirley, it was an Autumn day, and still the temperatures were quite warm, causing the sun rays to reflect like a mirror on the calm waters of Garda Lake. A last gaze at that soothing scenery, before embarking the minivan that would take the group to the Dolomites, a unique mountain range in northeastern Italy, since 2009 a UNESCO World Heritage Site. Shirley was tingling with excitement for the new destination, memories flooding back in her mind of her previous journeys to Italy. Travelling with

Mario, Viny and Gianni had been the right choice. She got to know another Italy, away from the masses of tourists and she even started speaking the language!

At a leisure pace, Mario and Gianni drove the small group through alpine villages along the Grande Strada delle Dolomiti (the big Road of the Dolomites), stopping now and then to admire the spectacular scenery this region can offer.

By the time the van reached the top, the magic happened: the first snowflakes fell down from the sky, completely unseasonal and unexpected, as a gift from heaven.

That was the first time Shirely saw and felt snow on her skin, hair and fingers.

Something she will never forget for the rest of her life.

www.vitaitaliantours.com

TRAVELLING 13

WORDS LAURA D’ANGELO PHOTOS DANIELE CURTO

How an Italian

Maurizio Campanelli, collecting slowly baked Yam Daisy roots from the base of the experimentally re-created Aboriginal earth oven.

archeologist helped revive

an ancient Aboriginal

cooking method Maurizio's contribution has been important for the success of this experimental revival which restores a broken tradition

14 CULTURE

LEFT In the background, from the left, Daniel Ross Clarke (Traditional Owner - BGLC and La Trobe University student), Maurizio Campanelli (PhD candidate, La Trobe University) and Darren Griffin (RAP Manager - Barengi Gadjin Land Council); in front, an Aboriginal earth oven (after food collection), experimentally re-created for cooking native Yam Daisy roots (aka Murnong - Microseris spp.) with clayey heat-retainers.

RIGHT ABOVE Fire building in Aboriginal earth oven with clayey heat-retainers

I would like to acknowledge the Jadawadjali and the Wotjobaluk peoples as Traditional Owners of the Wimmera region, and pay my respects to their Elders past and present, and the Elders from other communities of Victoria.

M

aurizio Campanelli is an Italian researcher who specialises in prehistoric archaeology, and born in a small medieval town near Taranto in the region of Puglia. He graduated in classical languages and studies at the University of Bari, with a consequent specialisation in archeology, attained with a master by coursework. After several years of field work at archaeological sites in Europe, in 2012 he decided to relocate to Melbourne.

But what is an Italian archaeologist doing in Australia? This is the question that prompted me to meet with him and write this article.

RIGHT Heat-retaining 'clay balls' for earth-oven cooking BELOW Baked Yam Daisy roots (aka Murnong - Microseris spp.)

project of experimental archaeology consisting in the re-creation of an Aboriginal earth oven with “clay balls”, traditionally used to cook vegetable foods in wetter environments. Originally excavated at a swamp area near Clear Lake, the earth oven was re-constructed on the southern bank of the Wimmera River near Horsham. It consists of an earthen fire pit filled with lumps of clay that act as heat retainers when the pit is layered with foods and sealed. It may be considered a slow-cooking method or “moist baking” as Maurizio suggests.

He came to Melbourne to follow his partner, who started a PhD in archaeology with a focus on archaeological sciences. At the time, he had no idea that he would have the opportunity to further his studies, until he participated as volunteer at the archaeological excavation at the old Carlton United Brewery site, northwest of Melbourne CBD. Run by La Trobe University, the excavation aimed to unveil evidence of Melbourne’s early history.

Re-construction apart, the experimental procedure has involved the cooking of Murnong (also known as Yam Daisy), a tuber traditionally recognised as a staple food for the Aboriginal peoples of Victoria. Nearly brought to extinction by European settlement and early pastoral development, the tubers have been donated by an amateur grower from the Geelong suburb of Corio. More importantly, Aboriginal communities are striving to reintroduce them as part of their cultural and alimentary practices.

Maurizio’s desire to undertake a PhD course was prompted by this first approach to Australian archaeology and the friendly high standard academic environment he encountered. This was made possible through a Postgraduate Research Scholarship by La Trobe University in 2014.

Maurizio’s contribution has been important for the success of this experimental revival which restores a “broken tradition”. Starting in October 2015, the Barengi Gadjin Land Council is keen to make this ancient culinary practice an annual event celebrating the Aboriginal connection to the Country.

The topic of his current research is a study of the last 11,000 years of human occupation in central western Victoria; an area traditionally belonged to the Jadawadjali people.

The common aim of an archaeologist is to record, interpret and preserve ancient material remains for future generations. The Indigenous cultures of Australia are the oldest continuous living cultures on earth, it follows that Indigenous archaeology can be rightly considered a social science with the potential of supporting Aboriginal self-determination. Experimental archaeology, among many other possibilities, shall serve as a tool to recover and revive intangible heritage.

“In Australian Indigenous archaeology is not easy to predict what you will be uncovering, where and how old it is,” Maurizio explains, when asking him about his expectations while digging in Victoria.

An archaeologist however, has high chances to run into surprising revelations, bringing to light what has been long buried under soil and dust. This is exactly what happened in 2015, when he was allowed to conduct a field investigation in collaboration with the Barengi Gadjin Land Council Aboriginal Corporation.

Keen to complete his PhD degree despite living on a budget, Maurizio is driven by passion and gratitude, and makes it a public utility, no matter the dust and the difficulties he may be rolling into.

From the preliminary results, the collaboration developed into a CULTURE 15

WORDS LAURA D’ANGELO Photos Silvia Zanon

THE “ART” OF m

Did you know?

Curious facts about Arancini

g Arancin n i i ak

Arancini look like big rice balls, about the size of an orange (the Italian world arancia means “orange”), whose center is filled with a savory mixture. The outer layer is covered with a crunchy crust and the entire rice ball is then fried in oil.

Riccardo Siligato and his wife Josanne

The classic Arancini and Supplì, the first having originated in Sicily, the second in Rome, come in two main variants: the first is perfectly round in shape, filled, according to the tradition, with a ragu sauce of meat, mozzarella and peas; the second one has a longer, pearlike shape and is generally filled with diced mozzarella, prosciutto, and grated cheese.

Nowadays the ones made in Western Sicily are round in shape whilst those made in Eastern Sicily (particularly around Catania) are often conical.

B

ased in Epping, Arancini Art is a food company specialised in producing traditional Italian Arancini, Olive Ascolane (stuffed olives), and Supplì. It began from the idea of the Sicilian Riccardo Siligato and his wife Josanne, aiming to share their innate passion for the islander cuisine in Australia. As the owner explains, all the childhood memories that have accompanied him in his Australian adventures, have effectively shaped his present and strengthened his bond with the home land.

Over the years, Riccardo and Josanne had planned several trips to Sicily and, as luck would have it, they eventually learnt the art of making Arancini directly from Severino Bucalo, master chef of Arancini on the island.

After having gained the skills, their friend Adrian Lo Giudice, owner of a construction company in Melbourne, provided the Siligatos with a warehouse that soon turned into a laboratory. “Without his help this dream would not have been possible,” Riccardo states.

At the beginning they cooked for three days, while spending the rest of the week doing deliveries.

With the help of Gerry, the new entry in the kitchen and thanks to the arrival of Massimo Minutoli, new manager and salesman, the gradual increase in orders turned the initial part time enterprise's into a proper full time job. Massimo's contribution in particular, has represented the strong point at Arancini Art and the step towards a big scale production that has seen the extension of sales throughtout Australia and New Zealand.

“I could never be more proud of my team and my wife. Their help has been fundamental to settle a business that is running productively for over six years now.”

Through professionalism, passion and dedication, the company has grown a lot, but the priority to offer high standard service and quality remains.

All the products at Arancini Art are hand made daily with passion, and as Riccardo highlights, “with art.” The selection of food also includes; pasta such as lasagne and fettuccine, several appetisers such as potatoes croquettes and mozzarella fried balls, plus customised recipes made on request according to the customer's palate. Needless to say, the ingredients are all bought locally to guarantee the highest quality. www.aranciniart.com.au

16 FOOD&WINEPECIALE

For several centuries the Arancino has been part of traditional Southern Italian cuisine. As far as we know the term “Arancino” was first coined in Sicily. There are even those who sustain that Milan’s signature dish of Saffron Risotto is nothing more than a poorly executed arancino that fell apart on a plate, although Milanesi wouldn't agree with that.

The cultivation of rice in Sicily had no connection with rice farming in Piedmont, where arborio and other rice varieties are still grown. So, how did rice arrive in Sicily?

As well as oranges, it was introduced there during the Arab period. The island had a cooler climate back then, with streams flowing all year round, navigable rivers and natural lakes, an environment that allowed the rice's growth.

All throughout Southern Italy it is common to find street vendors that sell Arancini.

The consumption of this millenary dish, doubles during the festival of Saint Lucia in Palermo, on December 13th. On that special occasion, the city fills up with stands, carts and frying kiosks selling hundreds of Arancini, as, according to a vow made to the Saint during a severe famine that hit the island in the 17th century, the consumption of pasta is forbidden.

WORDS Marco Maria Cerbo (Consul General of Italy)

ROOTS&ROUTES

The not to be postponed challanges of Europe while approaching the sixtieth anniversary of the treaties of

Rome S

eventy years ago, Europe was being torn apart by its second catastrophic conflict in a generation, but in the lapse of a decade something changed, hopefully forever. On 25 March 1957, a Treaty establishing the European Economic Community was signed in Rome

by Belgium, France, Italy, Luxembourg, the Netherlands and West Germany. In 2017, we are celebrating the 60th anniversary of the historical moment when countries that had been fighting against each other for centuries decided to build together a peaceful and prosperous continent. The establishment of the EEC and the creation of the Common Market had a practical goal - transforming the conditions of trade and manufacture - but beneath them lied the idea that the six nations were willing to begin a path that would have eventually led to the construction of a political Europe.

The signature ceremony was held in the magnificent rooms of the Palazzo dei Conservatori on Capitoline Hill in Rome.

Italy was chosen to host the event because of its leadership role in the negotiating process and the strong vision of its people and statesmen such as Altiero Spinelli, who have always been among the most supportive of the European ideals. The representatives from the six countries, who met in June 1955 at Messina, in Sicily, paved the way towards the EEC. The EEC later became what we today call the European Union, and its membership has grown to include twenty-eight member States – even if the United Kingdom is expected to leave the European family soon. The main purpose of the European Union was to secure peace. It has been achieved, and we should pay tribute to all those in the European Union who made that happen.

If we want people to believe in Europe again, they need to feel safe within it

Unfortunately, while approaching the 60th anniversary of the signature of the Treaties of Rome, European citizens perceive a string of crises: the Greek debt crisis, the refugee crisis, Brexit and so on. In the last few years, the challenges facing the European Union have not diminished – indeed they have grown, and today public disillusionment with the European Union is at an all-time high. The main, overriding purpose of the European Union has

become to secure prosperity. To overcome such challenges and reach our new common goal, we need a more political Europe, with a stronger euro area at its centre and with solid legitimacy.

The European treaty commits the member states to "lay the foundations of an ever closer union among the peoples of Europe.”

It has been the compass we followed for the past sixty years and it remains our motto in these troubled times. The various crises mentioned before, have revealed a growing mistrust of our citizens towards their leaders and a growing distance between them and their governments.

Brussels and the European Union are blamed for seeming indifferent to people's concerns and driven by hidden agendas and voracious lobbies.

The future shape of Europe is being forged; a new Europe will be successful only if it relies on its own positive energies and spirit of solidarity as it has done in the past. I believe that Europe needs “more Europe.” Since the global financial crisis, national interests have been favoured by Member States, but now we need to prove that Europe can still offer its protection. If we want people to believe in Europe again, they need to feel safe within it. Today, the major threat comes from economic turmoil and international instability rather than the fear of a new war.

A more political Europe can provide the safety net that is needed to keep Europe together: projecting a vision of progress for its people, fighting for open societies and economies, and standing for its identity as it has been forged by history. Let me conclude by quoting Winston Churchill, who delivered a speech at the University of Zurich in September 1946. In the immediate aftermath of the war, he called on European countries to form a regional organisation for security and cooperation on the continent: “If Europe were once united in the sharing of its common inheritance there would be no limit to the happiness, prosperity and glory which its 300 million or 400 million people would enjoy. […]

Therefore I say to you: Let Europe arise!”

Churchill’s words are as relevant as ever.

REGULARS 17

WORDS Ivano ercole PHOTOS JONATHAN DI MAGGIO

If will, passion and vision are there…

The inspiring story of

Alfredo Santo A

lot has been written about post-war immigrants and their quest to build a new life in an unfamiliar and remote land as Australia still was in the middle of the last century. Little account has been given of their children’s experiences as they grew up torn between two cultures, wrestling with society’s push to mainstream or marginalize them.

The multi-awarded hairstylist, Alfredo Santo, has gone through that experience with the added strain of becoming aware into his teenage years that he was gay. He was born in 1953 in the Victorian country town of Koo Wee Rup, the youngest of five children of Francesco and Vincenza Santo, a couple from Sicily who worked as market gardeners.

18 SPECIALE moda

There was definitely this growing sense that I was different. I wanted a creative career and I was prepared to face any sacrifice to get it

SPECIALe moda 19

“Growing up in the country,” Alfredo recounts, “was hard in those times as Italian immigrants were kind of seen as inferior. We were often called wogs, dagoes and spaghetti munchers. This made settling very difficult and, as a child, I yearned to escape the countryside and fit in with a cosmopolitan lifestyle in a big city.”

In the early 1950’s, many Italian families settled in Koo Wee Rup, the South Gippsland area. They helped make it a thriving rural district, but for Alfredo it was not an adequate place upon which he could build his aspirations and identity. “There was definitely this growing sense that I was different. I wanted a creative career and I was prepared to face any sacrifice to get it.”

Grappling with their own frustrations over the acculturation process, many children of immigrants found themselves enmeshed in a critical tangle: battling parents over the venerable traditions of their native cultures while simultaneously risking a break with their cultural background.

While his push to mainstream to “Australianise”—and his persistent inner turmoil with it—was not unique, in Alfredo’s case it was accompanied by an absolute determination to excel in whatever career he chose to embrace. The only downside was that he could not convey to his parents the scope of his yearnings, the intricate nuances of his path: “We didn’t really have that kind of relationship where you open up and tell your parents all about yourself and your dreams.”

“You have to internalize a lot of it,” Alfredo says, “because the expectation is that you should conform to the conventional pattern and be

20 SPECIALE moda

realistic in what you can achieve.” When he completed high school his parents encouraged him to become an accountant deemed back then to be a successful and lucrative career path. After twelve months of accounting which allowed him to move to Melbourne, he soon realised this was not his dream. In 1974, he decided to pursue his passion for hairdressing. He enrolled at Venus College of Hairdressing and worked evenings and weekends as a waiter to pay his way. He successfully completed his diploma course as a hairdresser and travelled to Europe to widen his experience in this field, and was selected to work in one of the top salons in London.

After a twelve month stay in London, his ambition to run his own business in Melbourne drew him back to Australia. His return marked the beginning of a splendid career with the opening of a high-end salon in Toorak, making him famous and known as one of the most brilliant and creative Australian hairstylists. This salon allowed him to explore all avenues with this profession, including

Alfredo Santo in his home

doing makeovers on TV shows, writing articles for several magazines and supplying images of his hairdressing creations based on the total look, to inspire the general public and his professional peers.

His Toorak salon was an outstanding success, employing over twenty staff and gaining him many awards; from “Victorian and Australian Hairdresser of the Year,” to “Best Salon design in Australia” and “Best Marketing Salon in Australia.” Among these incredible recognitions, Alfredo was inducted into the Australian Hairdressing Legends “Hall Of Fame.”

Seven years ago, after thirty-five years in business, an opportunity arose for a healthy sale of his successful salon. Alfredo has since been cultivating his Italian heritage through many trips back to the Bel Paese. He now divides his time between Australia and Italy, where he has bought an apartment in Umbria with his partner of eighteen years, Brian Reberger; a well-respected Australian artist who has a special connection with Italy and derives from it much of his inspiration. Indeed, he believes that he has lived in Italy in a past life and each visit always feels like a homecoming.

Through Brian, Alfredo has learnt much about art and helps him by managing his practice. After his fantastic career as a master hairstylist, it was very difficult for him to close that long chapter. Now a new and equally exciting journey has begun. His life is a shining example that no matter where one comes from and how many obstacles one encounters along the way, success can be achieved if will, passion and vision are there.

SPECIALe moda 21

WORDS CIRIANA

The Granny’s Pearls The prelude of a captivating story

A

nother weekend was coming for Ciriana, managing partner of a Rome subsidiary of a blue chip American consultancy. She was not a great fan of Friday evenings. Returning to an empty apartment from her top-floor office, with a breathtaking panoramic view of roofs and steeples of Roman churches, reminded her painfully of her solitude.

She did take advantage of being single for years, enjoying her freedom and flexibility, not allowing herself to reflect on failures with men. Until the day she got an email from Maurizio.

Ciriana was always full of passion and thirst for knowledge. Mentally agile and talented she was advancing her career dynamically and skillfully, maneuvering to avoid traps in a male-dominated business realm. It might have been her flair, but also her physique, that added to the royal aura of a strong and classy leader, even at times when she was just a young graduate.

Her sophisticated style and elegance impressed people she was dealing with. She had embraced her family trademark, which had been passed through generations within a clan of affluent Florence landowners.

Ciriana remembered her grandfather, a respectful pediatrician who married an heiress of one of the most innovative and entrepreneurial pharmacies of the times.

Until the end of their lives in their 80’s, they would attract attention from their neighbours, whilst strolling gracefully through the town's streets. The grandfather, wearing a tailor-made suit, a snow white shirt and a pair of hand made leather shoes, would be leading his wife, who had the appearance of a local version of Sofia Loren. In a toned colour skirt suit, kitten-heeled stilettos, with a tiny handbag, and her hair always carefully styled. Their age had always been unrecognisable, as if shrouded in mystery.

Likewise, her parents, both respected orthopedists, remained faithful to the imprints of their family’s core style and values. Her mother had once said to Ciriana: "It is not you who should compromise herself to fit others. Let them aspire to your class.”

22 SPECIALE moda

From todays perspective it wasn’t easy to agree that this learning helped the young woman to build a happy life. There might have been a few men who had attempted to reach for her heart, but there had been many who had never even tried. A traditional approach to a woman's role as mother and housewife still prevailed as a cultural pattern of the Italian family. Only Maurizio accepted her fully, and was up to the level that they both aspired to.

They both liked to present themselves as young, bold, beautiful and classy. Even during the times when they both earned scholarships at the New York University and left Florence to study overseas. Their families strategically sent them limited financial resources in order to keep them away from the risks involved in affluent living in an unfamiliar place. Nevertheless, the couple quickly became notorious for being obscenely... chic.

Ciriana loved the way Maurizio looked at her. When instead of wearing popular, yet expensive super trendy skinny jeans, she preferred simple black dresses synchronizing perfectly with her olive skin. High heels, complimenting the look, accentuated her long legs, and a pair of her grandmother’s pearl earrings was her only accessory.

Maurizio cherished his love of well-cut shirts, and perfectly clean leather shoes.

Never, not even in casual social situations, did he present himself in a careless or untidy manner.

Indeed, they felt like vain young gods encountering glances and hearing whispers throughout the campus. They loved the impact they had on fellow students arduously trying to copy their style, especially when it was so effortless for them.

It is hard to believe what happened to the couple in the following years. Time etched away all traces of Maurizio in Ciriana's life.

Only one visible line of the unopened email brought memories back. It said: "I dream to see you in your granny's pearls again.”

to be co nt inu ed

It is not you who should compromise herself to fit others.

Let them aspire to your class

Flared dress Begonia with a wrap top and a stand-up collar, made of a rigid fabric, ideal for elegant afternoon occassions.

The photo taken in Villa Borghese in Rome.

Photographer Marco Girolami RIGHT Petunia, a little black dress of a pencil line with a V-back in a contrasting colour.

A universal all-day outfit (office - afternoon - evening). Photos taken in Santa Monica, California Photographer Mark de Paola ABOVE Sabbia, an office sand-colour A-line dress with a 3/4 sleeve. Made of an exquisite and delicate poly blend.

Designed for all body types.

Photos taken in Florence in front of Ponte Vecchio Photographer Massimo Todisco

www.ciriana.it SPECIALe moda 23

words Daniele Foti-Cuzzola

Fashio Designer, Aurelio Costarella

How the son of humble Italian parents has become a top Australian fashion designer

I

n a glittering career spanning over three decades, the Perthbased designer Aurelio Costarella has cemented his way to the top of the Australian fashion scene; from showcasing at New York Fashion Week, to having A-list celebrities Rihanna and Kendall Jenner snapped wearing his beautiful gowns, to dressing Denmark’s Crown Princess Mary. Despite his incredible achievements in such a cutthroat industry, Costarella has remained an unpretentious and approachable person.

Like many migrants before him, Costarella’s father, Pasquale made the courageous voyage from Italy to Australia. With only a suitcase and $20, he left his pregnant wife and young daughter behind in Reggio Calabria to establish himself first and give his family a better life. Four years later the family was reunited and in 1964 Aurelio was born. “I have a huge respect for what my parents endured to give us an incredible life in Australia,” he says. “I have become who I am because of my upbringing.”

Costarella fondly recalls his upbringing in the multicultural suburb of North Perth in Western Australia, surrounded by his Italian, Greek and Jewish neighbours. “We had one token Aussie family across the road” he recalls. Despite growing up in a multicultural neighbourhood his parents instilled a distinct Italian lifestyle onto Aurelio and his siblings. “My family was incredibly traditional. I spoke Italian at home long before I learnt to speak English. We grew all of our own produce. My parents made the obligatory Italian sausage, bottled sauce, and homemade wine. Trays of tomatoes were left on the house to sundry, and Sunday lunch was traditionally pasta day … Mum would make the sugo early morning before heading off to Sunday mass.”

But the Sunday sugo and pickled vegetables was not all his

24 SPECIALE moda

mother Teresa was renowned for. She was a talented home dressmaker and it was from her that he learnt the tricks of the trade. “Mum made all of our clothes, knitted jumpers. Only shoes were store bought. From early childhood I watched mum create pieces of clothing. It was somehow magical.” At the age of ten, Aurelio began stitching together fabric scraps on the singer treadle machine that had belonged to his nonna. “It’s one of the few possessions mum brought out to Australia with her, and my only connection to the grandmother I never met.”

Despite his passion for fashion, Costarella enrolled into architecture at Curtin University, before realising a career in fashion was a better fit for him. “I moved into fashion without any training – I’m totally self-taught,” and in 1983 he launched his label Ray Costarella.

However, the road to success was not an easy one. “Building a business from a Perth base has certainly been a huge challenge,“ he says. “In retrospect, it would have been easier had I moved … I began my business at a time where Perth retailers had no interest in stocking a WA brand. I had to work extra hard to be noticed. Eventually, I had to jump on a plane and sell into the east coast market to prove myself back home.”

It was a gamble that paid off and the Ray Costarella brand grew to become one of the most sought after Australian brands in the world. However, in 1998, the brand suffered a major blow when Costarella’s relationship with equal-share investor Sylvia Giacci turned sour and in 1998 Ray Costarella ceased.

With the “strong sense of pride, integrity and hard work ethic” that was instilled in him during his childhood, Costarella was ready to

relaunch his career in 2000–this time under his birth name. “Ray was the name I was given by my Grade One teacher on my first day at primary school. Apparently, Aurelio was too difficult to pronounce.

After losing everything in 1998, it seemed appropriate to relaunch using my birth name ... (which) was very important to me.”

Since then the Aurelio Costarella brand has grown from strength to strength. In 2013 the Western Australian Museum hosted a 30-year retrospective exhibition of his career for him, cementing his status as a West Australian icon. In 2015 Costarella opened his flagship store in the luxurious Perth State Building and was at the centre of a bidding war between major department stores Myer and David Jones. His garments were featured on the rating hit The Bachelorette and are prominent fixtures in the wardrobes of model Jennifer Hawkins and television personality Dannii Minogue. “Danni has always been a favourite and someone I have had the pleasure of dressing on many occasions. Dressing Rihanna was certainly a huge buzz and Dita Von Tesse has always been a delight to work with.” However one of his biggest highlights was dressing Crown Princess Mary of Denmark, which he described as “very special”.

While his busy schedule has seen him take on New York and Paris, Costarella is yet to travel to Italy. “I have so much family … the moment I step foot in the country I have to visit them all. I’m waiting for the right time to be able to immerse myself in the culture and spend a period of time there exploring.”

Despite his success, Costarella is unsure as to what the future may hold.

“I’ve become a little disillusioned with the fashion model,” he says candidly. “Sadly it is no longer sustainable. I’m in the process of reinventing myself and changing my approach to fashion. I believe we need to move to make fashion covetable again … fashion has become far too disposable and consequently unsustainable.” Regardless of what the future has in store, Costarella’s perseverance and determination in the past prove that like any little black dress, he will never go out of style.

Mum made all of our clothes, knitted jumper.

Only shoes were store bought. From early childhood I watched mum create pieces of clothing. It was somehow magical.

SPECIALe moda 25

words Bronte Dee Jackson

CULTURE BITES DETAILS AND TAILORING, THE WAY ITALIANS DRESS TO SUIT THEIR SILHOUETTE

W

e all know that Italians are among the best-dressed people on the earth, but why is this? What is it about their fashion and clothing that always makes it look so good, and distinguishes it? After twenty years of intense observation and attempted emulation, my conclusion is that it comes down to two things – details and tailoring.

Italians dress to suit their size, stature and individual shapes. For this they need excellent tailoring as one size does not fit all. It always amazed me that the busiest place on a Saturday morning in Italy was the Sartoria or Tailor. Often I had to wait in a queue. Having new and old clothes taken in or up or re-shaped was a normal weekly occurrence, making sure that everything fitted perfectly and suited the wearer rather than just taking it off the shelf and making do.

The first time a female Commessa gently placed her hands on my breasts and cupped them, in response to me telling her that I wanted to buy a bra, I was speechless with shock. I didn’t know that not 26 SPECIALE moda

only would she be able to provide me with exactly the right bra, but that she could pick out the right cut of shirt for my shape and size too. For the first time in my life I was wearing a shirt that fit me perfectly.

The same thing happened with other parts of my anatomy. I was told bluntly ‘no you will not look good in that Signora, but try this’ and, like magic, parts of me were embellished or hidden as the case required them to be. Shop assistants, who knew more about my body shape than I did and as a result picked clothes that made me look better in them, than out of them chose many of my favourite outfits for me.

In addition to the perfect fit of Italians and their clothes is the attention to detail that many of their clothes have, without becoming fussy or ostentatious. The straight black skirt will have stitching that emphasises the hips; the man’s business shirt will have tiny buttons at the lapel (years before the ‘button down shirt’ appeared anywhere else). Contrasting colour stitching will bring out a subtle colour in the fabric, seams on jeans will sparkle with just a little bling, and knitwear is designed to

It always amazed me that the busiest place on a saturday morning in Italy was the Sartoria or Tailor.

create a waist even where there may not be one. Details also include accessories such as suntans and haircuts, but particularly jewellery, watches, bags, lingerie, shoes, scarves, ties and sunglasses. Perfectly tailored clothes with subtle and enhancing details teamed with the above mentioned accessories make even people that are not naturally gorgeous looking, dress as though they are, and it has the same effect.

One day at my local bar/café in Rome I watched a short, large girthed, grey haired man walk to the bar wearing an immaculate suit. On his arm was a tall woman whose face was full of wrinkles. She was wearing a flowing green silk, knee-length dress and gold high heels which she elegantly and effortlessly walked in. They happily talked and greeted others, chatted and moved on. With his perfectly cut suit, silk tie, shining skin and good hair cut, he looked ten feet tall even though he was a head shorter than the beautiful woman on his arm.

WORDS Bernadette Novembre

Max Gazzè

An exclusive interview to Segmento

a top Italian singer-songwriter with an ironic vein

I

f all roads lead to Rome, then all roads lead to Max Gazzè. Having just returned from a successful world tour to promote his album Maximilian which included cities such as Los Angeles and Tokyo, the Roman artist has certainly broadened his already loyal fan following. Gazzè is a true musician that continues the genius of his predecessors from the golden era of Italian pop music–that of the 1960’s and 1970’s, but with an infusion of ‘80’s punk and New Wave. A true musician doesn’t only sing, but is also a poet, storyteller and magician.

Why a magician? Because good music magically touches our souls and enters our being thus becoming part of our life story.

Una musica puo’ fare is the title of one of Gazzè’s hits and in fact music can do what other art forms hardly can.

Gazzè’s most recent hit Teresa, speaks of a breakup between a man and woman, something that everyone can relate to.

The last words of the song poignantly describe the ending of a relationship: ‘Tu non ti abbandonare, non ti lasciare andare, devi solo maturare un po’, ma fallo per favore senza me’ (Don’t abandon yourself, don’t let yourself go, you just need to mature a bit, but please do it without me). Like all his songs, Teresa has an intense beat that

28 MUSIC

even without the presence of lyrics speaks volumes on its own.

I caught up with Max to discuss his musical talent and to get an insight into his creative process: BN: How did music enter your life? I have read that at six years of age you started playing the piano!

MG: Yes, we had a piano in our living room at home; for us children it was more of a toy than a musical instrument in those days. Then, as a teenager it was time for the guitar – a much loved instrument for young people because of its ability to bring people together–its socialising power.

Straight after that I started playing the bass, which until now is my instrument of choice.

BN: Which musicians have inspired your music? Your sound is unique.

MG: The music I listened to in my twenties and the music I still love now is probably the music that has left a mark on my musical style. Music from artists such as: The Police, Arcade Fire, New Order, but also solo artists such as Peter Gabriel, David Bowie

We hope to see Max Gazzè in Australia sometime soon but in the meantime, you can connect with him via his social media pages: @MaxGazzeUfficiale @maxgazze @MaxGazze MaxGazzeVEVO www.maxgazze.it Artist’s Management: www.otrlive.it

A true musician that continues the genius of his predecessors from the golden era of Italian pop music, but with an infusion of ‘80’s punk and New Wave

and PJ Harvey. In Brussels, London and Paris, where I played in clubs in my twenties we played our own music but in the style of these artists that inspire me, a bit punk and a bit New Wave.

BN: Your brother Francesco is also a songwriter and composer and writes with you. I have noticed that the lyrics of your songs are very poetic and have a subtext, especially the much loved song Sotto Casa. I love the line ‘Possa la bontà del vostro cuore riscoprire che la verità si cela spesso dentro una persona sola’. What is the song about?

MG: I think that this song is lost in translation. ‘Sotto Casa’ is an ironic song, very much ironic. The person that knocks at the door–bussa alla porta–is a door to door preacher, a type of mobile salesman of religion; the whole song is a send up of these preachers of the Apocalypse, people who are a bit ambiguous and a bit dumb, which is becoming more prevalent in today’s society.

In general however, in relation to the lyrics, the seeking of a melody and words are a characteristic of our way of working together (Francesco and I). The search is not only about the appropriateness of

the lyrics or their elegance or if not above all else, their sound. I love that by the sound of a word, the sequence of sounds in a verse and the direction of the verse itself, you create a dialogue. This dialogue doesn’t necessarily form from the presence of continuity.

BN: When you started performing in Rome in 1991, was it difficult to make your musical dreams come true in Italy? Did you come across any difficulties there and what was your defining moment when you found success in Italy?

MG: The early nineties was a time of great musical fermentation in Italy but also a time of major musical experimentation.

It was a time where it was easy to meet people to play with even if you didn’t know them at first. In this period, some great artists emerged whom I love and with whom I shared debuts. They have become great friends, artists such as: Carmen Consoli, Alex Britti, Daniele Silvestri, Niccolo’ Fabi, Subsonica, Marlene Kuntz, CSI, just to name a few.

your videos?

MG: I love the cinema, I was brought up in the cult of Monty Python and in my videos I love to insert an essence of irony, even if it goes against the lyrics of the song. It has to do with something deep inside of me: I write serious lyrics but I am never serious, I’m ironic without being a clown, I hope!

I love the ironic films of Terry Gilliam and Fellini and in my videos I try to repeat those settings, those stylistic figures, trying to make every video a short film.

(Note: In fact, Gazzè’s social media accounts attest to his ironic vein. He regularly uploads improvised short skits of himself and his crew, which never disappoint!)

BN: Thank you Max for your time and all the best for your future endeavours!

A special thanks to Marcella Chiummo from OTR Live for making this interview possible.

BN: I also love your music video–especially a recent one with the song Ti sembra normale. Where did you get the ideas for FOOD&WINE MUSIC 29 27

WORDS Omar D’Incecco (our correspondent in Italy)

ITALIAN GENIUS AND SWEAT

The rise of Italian wine from the ashes of the methanol scandal

Italy has the largest variety of indigenous grape varieties in the world, crediting itself as the country with the greatest “biodiversity”

W

e begin this overview of Italian wine with some numbers.

In 2016, Italy conquered as the world leader in wine production. Estimated at around 50 million hectoliters, they overcame archrivals France and Spain: a triumph from many points of view.

Wine is Italy’s main agricultural export and, in part, is trolling through the industry as a true ambassador of Made in Italy. 40% of this production is made up by 332 wines of ‘Controlled Origin’ (DOC), a further 73 wines with ‘Denomination of Controlled and Guaranteed Origin’ (DOCG), and 30% from the 118 wines IGT. Meanwhile, the remaining 30% is made up of table wines of the highest quality. This has definitely changed the cliché that Italian wine is cheap and French wine is chic.

Surprising is the performance of ‘tricolor’ wine in the houses of other major manufacturers, with purchases in Australia at a staggering +14%, followed by France + 5%, the US + 3% + 1% and Spain. In the transalpine country, home of champagne, Italian sparkling registers a double-digit increase of + 57%. Translated, one could say that more bottles of Italian sparkling wine have been uncorked than French champagne.

Exports reached a value of 5.4 billion, an increase of 575% compared to thirty years ago when they had amounted to just 800 million euro. 1 in 5 bottles of wine exported worldwide is made in Italy.

30 SPECIALE VINO

The recent history of Italian wine is punctuated not only by successes, but also areas of shadow. The dramatic turning point came on March 18, 1986 when, launched thanks to ANSA, the first three cases of death from methanol poisoning were reported in Italy. It was the beginning of the most sensational scandal of the Italian food industry. Methanol was used to increase the alcohol content of wine and a “flexible” legislation had allowed an almost excessive level. Within a few weeks, sixty companies were involved, more concentrated in the Central-Northern areas of Italy.

The toll of the methanol wine scandal on victims was heavy: twenty-three people died, others were left blind or developed permanent neurological problems, and thousands were poisoned.

The economic damage was catastrophic.

Wine exports were blocked around the world from the US to Germany. Italy’s name was likened to adultery and risk of death.

Sales plummeted and dozens of companies failed. The image of Made in Italy food was dramatically compromised worldwide.

It was March 18, 1986 when the Italian wine industry fell to its knees.

The years that followed were marked by a complete overhaul; a simple upgrading of the system was not enough. The scandal enabled tabula rasa, or a ‘clean slate’, making it easier to restore the supply chain and industrial systems with greater focus on quality production methods. It needed a different philosophy in order to appear

stronger and more credible than before.

Winemakers and agronomists began a slow rediscovery of native vines that represent the extraordinary richness of our wine. Because of this, Italy has the largest number of indigenous grape varieties in the world, crediting itself as the country with the greatest “biodiversity”. There are 600 different varieties of vines, of which 350 are grown in significant number. France has a population of 220, but in fact they are less than a dozen, as white and red make up almost all of the wines.

Alongside this natural wealth, experts have matched the quality of winemaking methods. New high-tech wineries with old world charm have opened, and the creation of international events has lead thousands of people every year to visit the vineyards to taste chalices in the “Open Cellars”. This has intensified communication and improved the overall image of Italian winemaking. Similarly, this has seen the opening of thousands of high profile wine bars around the globe, allowing great Italian restaurants to climb the summits of the world’s leading guides, taking Italian food and wine with them to the top.

With brilliant intellect, lots of sweat, and thirty years after the scandal of methanol wine, Italy has climbed the rankings as the world’s biggest wine exporter. Victor Hugo’s famous words come to mind, paraphrased as: “God made only water, but Italians made the wine.”

WORDS Josie Gagliano

The “bubbling up” of Prosecco In the Australian wine market A

s the demand for Prosecco continues to grow in Australia, despite the news earlier this year of a shortage of supply in the UK due to its limited production in a geographically defined area in Northern Italy, we can expect that the tide will turn yet again for the popular Italian bubbles.

In fact, I predict that the market will ‘puncture’ or bottom out in 2017. The drinks business has started to really take note of what is on trend out of pure necessity to stay on trend, and it attempts to deliver as soon as something is on the radar. As we know to be true of any industry from drinks to fashion and film, trends come and go, and the staples always remain.

A case in point is frosé. Driven by social media posts that tell us this is what we should be drinking right now, the drink, which is essentially frozen rosé—often blended with strawberries, and adding wine, and grenadine, and fortified with a shot of vodka—has no doubt shot the sales of rosé right up in the second part of 2016, and will continue to do so into the warmer months of 2017.

Serious drinkers like to be seen on trend, especially bar bloggers, lifestyle writers, and enthusiastic “Insta-famous” folks who want to demonstrate they know what is on point in the beverage world. Importers, wholesalers and suppliers also like to deliver what they want, or risk being seen missing the mark. And missing out on sales.

American sparklings are also hitting the Australian market. While champagne makers in California are plentiful—Taittinger, Roederer, Mumm, and Moet Chandon all have outposts there—conditions in California are vastly different to standard champagne producing conditions in France, and US sparkling wine producers need to seek out the coolest regions in sunny Cali. Oregon, Finger Lakes, Carneros and Anderson Valley are locations perfect for the production of American bubbles.

Essentially, wine lovers are becoming more and more educated. They are understanding the versatility of wine and relinquishing traditional rules such as white with fish, and red with steak, although those palate ‘rules’ do often work with good reason.

more drinkers embrace Prosecco beyond its traditional role as a special occasion wine.

In line with the relative ‘frenzy’ in the UK - where in 2014 Prosecco was outselling champagne - there was a 55% rise in sales compared to the previous year, and 12 million bottles sold by UK retailer Tesco alone. The excitement will eventually die down, and when the bubbles dust settles, we will see if the drink becomes a staple in its category.

Next came the concept of the ‘Prosecco Socialist’—derivative of the ‘Champagne socialist’, a pejorative political term originating in the UK to describe socialists with upper middle class lifestyles thought to be incompatible with their political convictions. Singer Charlotte Church has described herself as a "Prosecco Socialist", referring to the increasing popularity and lower price range of this Italian quality sparkling wine.

Whatever its origins and pop culture references, the term taps into the view that Prosecco is a more affordable option than its French competitor, which is precisely what has contributed to its commercial success.

So, even if the ‘global shortage of Prosecco’ continues, with a ‘too-high’ demand and a relatively recent poor grape harvest, we think this will even out and make way for the next drinks trend. And PS: there is no such thing as an Australian Prosecco. A conversation for another time. Over drinks.

The evolution of Prosecco in Australia, the demand for it, and a new familiarity with what it is will see SPECIALe VINO 31

WORDS Jenna Lo Bianco

The UNBOUNDED creativity of Erika Lancini

M

arch of 2014 signalled the beginning of a new and exciting life for the talented Erika Lancini, her husband Manuel, and their three daughters, Martina, Alexandra and Maya. After long discussions and reflections about what a future remaining in Italy would look like, they packed up their life in Brescia and moved to Melbourne; a move neither regrets.

“We wanted stability and a future for our girls,” Erika explains. “We want to give the kids more opportunities in life.” As Erika unpacks her experience of migration one thing is plainly clear; her family is the centre of her universe. Given recent economic challenges in Italy, the desire for a better quality of life and greater freedom, they took a risk; one which thankfully, has paid off.

Erika, an interior designer by trade, is settled and happy in Australia. “Life in Melbourne is full of rewards. We work hard and spend lots of energy, but Melbourne has lots of offer.” She is bubbly and positive, “It’s exciting and the girls are integrated now. Australia is such a multicultural country and living in Melbourne gives such an appreciation of other cultures.” Her experience over the past three years has taught her the importance of security and quality of life. “Things were becoming unsafe in Italy,” she states, but luckily her open mind and adaptive nature have helped her in this significant transition.

With their second youngest daughter, Alexandra, starting school this year, they are well and truly rooted in Melbourne. Erika gushes over her husband, Manuel, noting his incredible adaptability and how committed he is to their family. “We just balance each other so well, you know?” Speaking with Erika you get a real sense of partnership in her relationship with Manuel. She acknowledges the sacrifices he has made in helping raise the girls, and for the

32 DESIGN

life they now lead in Australia.

Their daughters have transitioned beautifully into their Australian lives, negotiating their now bilingual abilities with ease. Erika can’t believe how well the girls have been able to pick-up English given the complete saturation of English in their day-to-day lives.

ABOVE AND BELOW Erika Lancini’s creations RIGHT Interior Designer, Erika Lancini. Photo taken by Daniele Curto

Erika is a fascinating person. She describes herself as “creative” and “stubborn and determined.”

The nature of her work lends her to think outside the box, and it shines through. It’s interesting to listen to Erika reflect on her character, “I am kind and soft, but also crazily passionate.” Likening herself to the opposing ‘sweet and sour,’ – dolce amaro– she understands that there are two sides to her personality. Erika says she is tender, kind and caring with her family at home, but allows herself to go crazy when designing in her studio on Gardenvale Road.

Refusing to adhere to trends of the moment and with no ‘distinct style’ of her own, Erika’s creative design work is all about the client’s needs. “Design is a journey, a new surprise. It’s a process that leads you to a new emotion. Design is not a copy process, it’s a creative process.” Erika notes the distinct differences between designing in Australia, as opposed to Italy.

“It’s not as easy here in Australia, it’s a far more conservative context.

Design is simple materials of daily life used in a new context; that’s where the beauty comes from.”

The next few years will certainly keep Erika on her toes, with a growing family and thriving business to keep her busy. Thankfully, this incredible woman’s determination, passion and creativity will ensure it’s an exciting and colourful journey.

words ILARIA GIANFAGNA

Discovering the food treasures of Melbourne off the beaten tracks

M

elbourne has many popular places to enjoy food and shop around but it also holds quite a few pleasant surprises for those who are prepared to venture in less known territory. The problem though, is identifying the places worth exploring.

Raffaela Ceddia, a young lady of Italian background (her parents come from Sicily and Puglia), has created a unique program offering one of the most exotic and exciting foodie experiences one can have in Melbourne.

It is called Flavourhood Tours and it provides guided walking tours through a variety of eateries, restaurants, bars and shops in Brunswick and Coburg.

“Visiting a new place can be daunting,” – Raffaela says – “but if there is a friend who

takes you around and shows you the places then it can become a rewarding experience.

Let’s eat together, walk together, talk together, share together. Let us introduce you to the restaurant and café owners, the shopkeepers and the bartenders, the local personalities.”

The typical day-tour runs for 4-5 hours along Sydney Road with stops in many places. Participants can taste food of different countries and be introduce to it by the chefs and owners of the places included in the program.

Why Sydney Road? “It’s simple” – Raffaela explains. “It is by far one of the most multicultural streets in Melbourne. In a distance of 500 meters you can find some of the best example of Italian, Arabic, Turkish or Lebanese traditional cuisines. Sydney Road is exciting, ethnic and diverse and you don’t need a lot of money to eat well or have a good time here.

turday and place every Sa Her tour takes e onlin at can be booked ours.com.au dt oo www.flavourh

It is rich in history and culture, unpretentious, genuine and alive!”

Raffaela grew up around Coburg and Sydney Road. Her background is probably the reason why she is so passionate about food and enjoys sharing her passion with other people.

She has travelled extensively and lived and worked in different parts of the world.

Besides English, she speaks Italian, Portuguese and is brushing up her Spanish. All of this makes her a perfect guide for a food tour around Brunswick and Coburg. She knows this area inside out as well as the cultures of the people who live and work in it.

“Take out your comfy shoes, have a light breakfast and get ready to be amazed by many yummy surprises,” she recommends.

REGULARS 33

WORDS ENRICO MASSEI & Elizabeth Wisser

AMALSA MAKES THE LAW WORK FOR YOU “GENERAL SKILLED MIGRATION PROGRAM” AN EXTENSIVE OVERVIEW - THE FIRST 5 TIPS

From the Director's desk – Enrico Massei

T

he General Skilled Migration Program (GSM) as a pathway to Permanent Residency (PR) can be very daunting at the best of times. The complexity which includes understanding Skill Select, Expression of Interest, Points Test and English language requirements require a proper analysis

to not encounter in potential pitfalls which can be detrimental to your dream of relocating to Australia.

In this issue and the following issue of Segmento, we will provide an overview of the GSM program by providing the top 10 tips we believe will assist in obtaining PR in 2017.

From our Migration Practioner’s Desk – Elizabeth Wisser LL.B, GDLP, Registered Migration Agent MARN: 0959122

1

Know How Skill Select Works

General Skilled Migration is now an "invitation only" visa - you must first receive an invitation to apply through the Skill Select system following the lodgement of an Expression of Interest (EOI).

4

Choose the Right Occupation for Skills Assessment

In many cases, there may be more than one skilled occupation which we could use for skills assessment. Once your application is lodged, you can't change your nominated occupation, so choosing the right one is critical. This can depend on: • Skills Assessment requirements - these vary widely depending on your occupation • Competitiveness of Skill Select - some occupations are more difficult than others when it comes to getting a Skill Select invitation • State Nomination Opportunities - each state has its own state nomination list, and its own criteria. Choosing the right occupation may open up a range of state nomination opportunities

5

2

Improve your Points Score

In certain occupations 60 points is not enough for an invitation. Improving your points score will improve your chances of getting the all-important invitation. The most important ways of doing this are as follows: • Improving your English Score • Skilled Work Experience in Australia • State Nomination • Further Studies • Professional Year There are also other options such as: • Spouse Skills: if you are married or have a de facto partner, they may be able to contribute points. They would need to show competent English, pass skills assessment and be 18-49 years of age to contribute points • NAATI Translator or Interpreter Test: if you pass the NAATI translator or interpreter test, this will give you another 5 points. You only need to translate in one direction - paraprofessional level is sufficient for points

3

Maximise your English Points

English is the single most important factor in the Skilled Migration Points Test.

You can score up to 20 points for English and it is the one factor you have more ability to influence than any other.

Some important factors to bear in mind with English: • There are a range of alternative tests of English - some applicants find certain tests easier than other • English tests are valid for 3 years - it's never too early to get started • You need to achieve a minimum score in each band in a single sitting - this is much more difficult than meeting an average band score • Doing well in the English test is often more about understanding how the test works rather than your communication skills in English. If you are not getting the score you expect, you may consider English courses or one-on-one tutoring • You will need to factor in that some skill-assessing authorities have higher levels of English required or don't accept all types of tests

Get your First Professional Job in Australia

Getting your first professional job in Australia not only pays the bills, it opens up a range of migration opportunities. These include: • Various employer sponsored visas - an employer can sponsor you for temporary and permanent visas • You can get points for Australian work experience - up to a maximum of 20 points • Many states require you to have worked in Australia before they will nominate you Getting your first professional job can be challenging - some hints for doing this: • Make the most of your networking opportunities - university careers centres organise a range of activities - be the person who shows up to these!

• Meet some locals - this will expose you to local customs and attitudes and improve your Australian English • The Professional Year is available for Accounting, IT and Engineering students - as this includes an internship, you may get a job offer after this if you perform well

www.amalsa.com.au 34 REGULARS

PART TWO to be continueD

WORDS Mariantonietta Rasulo

THE COMPASS OF OUR RIGHTS

M e d icare

for Italian temporary residents and visitors The healthcare system in Australia – Medicare – is of a high standard. It is no surprise that the country’s population claims one of the highest life expectancies in the world.

Medicare is available to all Australian citizens, permanent residents and foreigners with certain limitations. As far as Italians are concerned, the holders of a Working Holiday Visa (subclass 417) or a Student Visa are eligible for Medicare for the duration of the approved time in Australia. Italian visitors are covered for six months only in case of serious illnesses that require treatment before they return home. Medicare does not cover all treatments considered not immediately necessary. After six months, the free Medicare expires and in case visitors stay longer, it is advisable to join a private health insurance fund.

Working Holiday Visa and Student Visa holders are required to apply for a Medicare card, which is very simple. One has to fill in the registration form which can be downloaded from the Medicare website or from any Medicare office in Australia. The visitor must indicate the passport number, the type of visa he or she has been granted and the Italian tax number. After a couple of weeks, applicants will receive a Medicare car to their Australian address by mail.

REGULARS 35

WORDS and Photo Archimede Fusillo

Future

In Their Past The broken dream of an Italian family who migrated to Australia in the dark

“

Una mattina all’alba vedemmo l’Australia per la prima volta. Una striscia di terra piatta, il cielo azzurro ed una cortina di nuvole bassissime. Sembrava che schiacciassero la terra.” (One morning at dawn we saw Australia for the first time. A strip of flat land, a blue sky, and a very low curtain of clouds. They seemed to be squashing the land).

“We were there on deck staring at this strangely fascinating vista.

Especially we children who were on the ship. Here, finally, was our new homeland.”

This is Stefania Pieri’s first sighting of Australia after forty days at sea on the Galileo Galilei, which was carrying the last assisted migrants from Italy. It was October 1974, and Stefania was a little girl following her mothers’ whim to travel to Australia in search of a new and different life in a country she had only heard about.

Theirs was not a story of leaving Italy because of dire economic hardship. The family lived in Rome, had all their family in or around Rome, were engaged in work and had prospects of a decent, if not affluent future. Her father Sergio was an expert butcher and ran a small business, while her mother Anna Maria was a highly regarded fashion seamstress.

“Mamma aveva letto una propaganda che diceva ‘Dài a tuoi figli una prospettiva nella terra del sole, I’Australia’, e nel giro di pochi mesi annunciò che saremmo partiti. Papà era anche lui convinto che l’Australia offriva opportunità per loro come genitori e per i loro tre figli. I nonni però non ci credevano. Erano tristi. Ma ecco che siamo andati alla cieca. Non avevamo nessuno in Australia. Non sapevamo nulla dell’Australia.” (My mother had read a piece of propaganda that said, “Give your children a new outlook in the Land of the Sun, Australia,” and within the space of a few months she announced that we would be leaving. Even Dad was convinced that there was opportunity for them as parents and their three children.

But our grandparents were not as convinced.

They were sad. But there you have it—we left in the dark. We had no one in Australia. We knew nothing about Australia).

As she speaks Stefania smiles, recollecting her parents’ mental picture of Australia; the kangaroos roaming the streets, the blonde-haired children with their glorious tans, the wide open spaces that seemed to go on forever. And the contented women with their lovely little cottages and gardens.

Australia was so vastly different in their eyes to Italy that the journey was a kind of exploratory adventure, a chance to discover a world they could never

36 REGULARS

hope to replicate in Rome. But Stefania left Italy with a heavy heart.

“Ero turbata dalla partenza,” she tells me. “Siamo partiti da Napoli. Mi ricordo che trascorremmo del tempo in un vecchio edifico con lunghi corridoi e letti tipo ospedale. Brutto posto. Ero triste. Anche perché non volevo lasciare mia nonna in particolare. Ma la sensazione più forte di distacco la sentii a Messina. Lì abbiamo veramente lasciato I’Italia. La gente piangeva. Era un secondo addio dopo Napoli. A quel punto ci siamo resi conto che andavamo verso l’ignoto.” (Parting really affected me. We left from Naples. I remember we spent time in an old building with long corridors and beds like in hospitals. An awful place, I was so sad. I didn’t want to leave my grandmother in particular. The most heartfelt parting though was in Messina.

That’s where we really left Italy behind. People wept. It was a second farewell after Naples. It was at that moment that we realised we were really heading into the unknown).

Stefania’s impressions of the Australian way of life were coloured by the family having to spend many long months in the Maribynong hostel for new arrivals, where they had to share communal laundries, and her mother was often obliged to cook meals on an upturned iron, and where the food provided was so vastly foreign to her and her peers, that many of them either refused to eat or got ill.

“Eravamo italiani, greci, turchi, libanesi, tutti lì insieme,” Stefania recollects. “C’era un’atmosfera di depressione fra noi. Era tutto strano. Gli odori, i modi di comportarsi...Sono rimasta quando ho visto ragazzi della mia età provenienti dall’Inghilterra già senza denti.” (We were Italians, Greeks, Turks, Lebanese, all of us together. And there was an atmosphere depression amongst us. Everything was odd.

The smells, the mannerisms ... I was shocked when I saw English migrants of my age who had no teeth).

She tells the story rather poignantly of a woman who complained that her clothes were disappearing in the washing machine, only to be told that she had been putting her clothes into the flushing toilet—something the woman had never seen before.

Stefania takes no mocking pleasure in recounting these facts.

They are simply realities from her experiences of being a migrant in a country they did not understand and which, on the whole, did not understand them nor their needs and expectations.

In talking to Stefania at length it is not surprising to learn that she has been politically active from a young age. Perhaps it was her upbringing. Perhaps it was the exposure to many of the inadequacies and injustices of being a foreigner in a new country. Whatever the spark for her philanthropic interests, Stefania has been at the forefront of Italy’s political movements even before she returned there as a nineteen-year-old.

“I saw many of the injustices towards us migrants first-hand,” she tells me in the English she first learned at the migrant hostel. “When we finally left the hostel and moved into a small house I saw how hard my parents had to work. How not speaking the language disempowered us. For us kids for example, the schools, particularly the public schools, were not set up to cater to our particular needs. The curriculum was rather inadequate. There was no one to give you advice or an opinion about what you might do, what path you might take.”

“Io sono andata avanti perché avevo frequentato la scuola in Italia,” she says with feeling. “Ho preso lo HSC, ma non ero soddisfatta.

Mi mancava qualcosa. Non mi sentivo né carne né pesce.

Pian piano sono cominciati i dubbi. Non soltanto a me, ma anche a mamma. Papà non aveva problemi a lavorare come macellaio. Aveva a che fare con altri Italiani nella maggior parte e la lingua Inglese non era una cosa significativa per lui.” (I progressed because I had some Italian schooling behind me. I did my HSC, but I wasn’t satisfied.

There was something missing. I felt neither meat nor fish. Slowly doubts crept in. And not just for me, but my mother also. As far as my father was concerned, his work as a butcher was going well. He had a lot to do with other Italians and so the necessity for English wasn’t as significant for him).

What seemed to stay the family’s hand toward moving back to Rome, was that Stefania’s mother managed to finally become noticed for her skills as a dressmaker amongst Melbourne society’s upper echelons. A family friend from Toscana happened to have married a woman who had contacts in this area and introduced Stefania’s mother to them. Soon Stefania’s mother was dressing the well-to-do and developing a clientele and reputation for excellence.

Having seen her own way through secondary school, Stefania came to the realisation that one of the factors holding many people of her age and generation back, was that the parents in most cases worked so hard that they had little time to cultivate the English language, to foster a love of education beyond the fundamental essentials, and by default could not provide the guidance many of these younger migrant children needed to seek out higher education.

It was at this point, and now eighteen or so years old that Stefania became politically active and started to volunteer with Italian groups and newly arrived Italian migrants. She joined the Federazione Italiana Lavoratori Emigranti e Famiglie (FILEF) with the politician and advocate for Italian migrants in Australia, Giovanni Sgrò as its president. It was a return to Italy as a nineteen-year-old, to visit her nonna and renew contact with childhood friends that cemented Stefania’s awareness. The new and exciting militant political movement afoot in her land of birth to which she was drawn and which re-emphasised her feeling of being caught between two worlds.

At this juncture in our conversation Stefania makes two rather interesting observations. The first is that, despite all the apparent cues to the contrary, her mother was starting to have doubts about living in Australia. In her own words she says, “Non ha mai sentito che I’Australia potesse essere come la sua terra nativa.” (She never felt as though Australia could be like her native country).

More significantly Stefania says that for many years she had been searching for some concrete sense of her own identity, and finally found it or at least nourished it through her political activities.

Stefania’s experiences of her own early struggles with a school system that didn’t cater to her needs, a lack of political awareness and interest amongst her Australian-born contemporaries, and a shift in the Australian political landscape in the early 1970’s with the development of multiculturalism and the push for bilingualism in schools under the Whitlam Federal government, gave rise to a desire to foster her interest in migrant issues more deeply.

“There was a new sense amongst Italian migrants of the early to mid 1970’s to actually get to know Australia as a country,” she explained.

“I myself went into the outback to try and get a sense of this aspect of the Australian life and culture.” Stefania suggests that partly out of this there developed a new appreciation amongst Italian migrants for education as a key factor in being able to assimilate themselves and their families into the Australian way of life. “Ci fu un periodo in cui gli Italiani non sapevano interpretare i bisogni dei ragazzi, dei propri figli...” (There was a time when Italians didn’t seem to be able to discern the needs of their children). Having one’s children educated at the highest levels, university, tertiary, became the way forward. There was an awakening to the changing needs of the second generation, which were not simply about getting whatever job was available, but striving to step away from the

initial drive of migration, which was primarily economic in nature.

So at age nineteen, Stefania travelled back to Italy with a new social consciousness as it were, and not surprisingly, found herself drawn to the political scene in Italy at the time. As a result, she returned to Australia but couldn’t settle back in to what had been.

She began a series of journeys between the two countries, often with one of her sisters. In 1982, she finally reconciled herself to the fact that she could pursue her desires to help Italians and Italian migrants best by being in the country of her birth, eventually taking up a position as it turned out with the Italian Senator from Australia Marco Fedi, himself a once prominent member of FILEF. Stefania explained that initially there was no concrete decision on either her or her sister’s behalf to abandon Australia for Italy. It was a conviction their mother came to, fearing her daughters would do so. As she had done in Italy previously, Stefania’s mother sold the family home on a whim in preparation to follow her daughters back to Italy.

That was in 1981, although it would take another year of to and fro between Italy and Australia before Stefania herself made the ultimate decision to move back to Rome. Surprisingly, her parents didn’t return to Rome though where exactly they went Stefania doesn’t say.

“Io mi sono sentita quasi in dovere di tornare poi in Italia,” she goes on saying. “In Australia non sono riuscita a fare la strada che volevo.

Volevo andare all’università. A scuola ero stata obbligata a fare “woodwork”, “cooking classes”… materie che non mi andavano.” (I felt almost obliged to return to Italy. I wasn’t able to follow the road I wanted in Australia. I wanted to go to university. At school, I was obliged to study woodwork and cooking ... Subjects I didn’t want to study). Stefania lapses into English to add, “for children of migrant’s in the 1970’s there was a vacuum into which many of us fell. A gap between what we saw possible and what was available. Our parents, for all their efforts, were too focused on getting ahead economically to really have an understanding of the wider implications of education for their children -daughters in particular perhaps. There developed a real sense of disillusion with what Australian society could offer as all it seemed able to provide was simply work and more work ... for them and their children.”

Perhaps this explains why today Stefania is such an advocate for the children of migrant families to have access to as broad and encompassing an education as it is possible, and why she has such empathy for the needs of migrants and their children to find room in today’s Italy by means of educational opportunities.

Stefania remembers her time at Brunswick High in inner Melbourne, as a tumultuous time. It was a period of social change— the rise of the concept of multiculturalism, a growing awareness of the disparity between those who could afford higher education and those who couldn’t, those who aspired to breaking the cycle of following parents into menial jobs and those who sought to make their own futures.

There was, Stefania argues, a rethinking of the obligations between the migrating parents and their children who either had no choice but to migrate with them or were born into a country where their parents were still relative outsiders, and as a consequence the lines between parental expectations and filial desires blurred.

In essence, the burgeoning economic well being of the migrant gave permission for subsequent generations to demand more out of the country of settlement than mere financial success. For Stefania, the answer lay in returning to Italy to pursue her goal of working with and improving the life of migrants in her own native country.

It would appear to this writer at least, that for Stefania Pieri this is an issue less about assimilation than it is about social justice.

REGULARS37 37 REGULARS

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Juliano Lawyers 19­21 Argyle Place South Carlton VIC 3053 CBD MACCARONI TRATTORIA ITALIANA Manchester Lane Melbourne Vic 3000 GRADI AT CROWN Shop 25, 8 Whiteman Street Southbank Vic 3046 FILA OUTLET Direct Factory Outlet Shop G016, 20 Convention Centre Place Southwharf Vic 3006 +39 Pizzeria 362 Little Bourke Street VIC 3000

FILA OUTLET Nicholson Street Fitzroy Vic 3065 FITZROY NORTH MACCARONI OSTERIA ITALIANA 201 Queens Parade Fitzroy North Vic 3068 GLEN IRIS MINITALIA LAB 200 Glen Iris Road Glen Iris Vic 3146 HAMPTON LA SVOLTA 450 Hampton Street, Hampton VIC 3188

PRESTON DAVIER HAIR ITALY 4/103 High Street Preston Vic 3072 HOME MAKE IT 256 Spring Street Reservoir VIC 3073 ­Sartoria Melbourne 115 Plenty Road Preston VIC 3072 RICHMOND SYLK HAIR BOUTIQUE Shop F36 Victoria Gardens Shopping Center 620 Victoria Street Richmond Vic 3128 Ringwood 400 Gradi 175 Maroondah Highway, Ringwood 3134 SOUTH YARRA

HAWTORN

ISTITUTO ITALIANO DI CULTURA 233 Domain Road South Yarra Vic 3141

Pomodoro Sardo 111 Lonsdale St, Melbourne VIC 3000

QUINTI - TUSCAN LIFESTYLE 636 Glenferrie Road Hawtorn Vic 3122

CONSOLATO ITALIANO GENERALE D’ITALIA 509 St Kilda Road Melbourne Vic 3004

CLAYTON

SANTONI PIZZERIA 634 Glenferrie Road Hawtorn Vic 3122

ST. KILDA

HOME MAKE IT 4/158 Wellington Road Clayton VIC 3168 COLLINGWOOD Arcuri & Associates 38 Smith St, Collingwood VIC 3066

KEW

I CARUSI II 231 Barkly Street St. Kilda Vic 3182

CIRCA900 PIZZERIA NAPOLETANA 321 High Street Kew Vic 3101

SORSI & MORSI 29 - 31 Blessington Street St Kilda Vic 3182

MALVERN

IL FORNAIO 2 Acland Street St Kilda Vic 3182

THE CRAFT & CO 390 Smith Street Collingwood VIC 3066

SAGRA 256 -258 Glenferrie Road Malvern Vic 3144

BINI’S GALLERY 62 Smith Street Collingwood Vic 3066

READINGS 185 Glenferrie Road Malvern Vic 3144

THAT’S AMORE CHEESE - CHEESE SHOP 66 Latitude Blvd Thomastown Vic 3074

Vita Italian Tours 1/25 Little Oxford Street, Collingwood VIC 3066

CAFFE’ LA VIA 252 Glenferrie Road Malvern Vic 3144

Thornbury

DANDENONG

ETTO PASTA 216 Glenferrie Road Malvern Vic 3144

Café Valentina Dandenong Market - 49 Cleeland street, Dandenong, VIC 3175 FILA OUTLET Direct Factory Outlet Corner Centre Shop T59, Dandenong & Grange Road Cheltenham Vic 3192 ROMA DELI 32 Gladstone Road Dandenong Vic 3175 DOCKLANDS WATERFRONT DOCKLANDS RESTAURANT Tenancy 9, 800 Bourke Street The Promenade Victoria Harbour Docklands Vic 3008 FILA OUTLET Waterfront City Harbourtown S/C Shop SCG03 Docklands Vic 3008 FILA OUTLET Direct Factory Outlet Level 1 - Shop T78 201 Spencer Street Docklands Vic 3008 DONCASTER ZERO95 PIZZA BAR 904 Doncaster Road Doncaster East Vic 3108 FILA OUTLET Direct Factory Outlet Level 1 - Shop T78 201 Spencer Street Docklands Vic 3008 ELWOOD ZANINI PIZZERIA 106 ormond Road Elwood Vic 3184

Rossini Bistro Pizza & Pasta 213 Glenferrie Rd, Malvern VIC 3144 NARRE WARREN NORTH

THOMASTOWN

Lola Lovely 692 High Street Thornbury VIC 3071 TOORAK +39 Pizzeria 517 Malvern Road VIC 3142

Chapter 16 Oakview Blvd, Narre Warren North, VIC 3804 NORTHCOTE

CANBERRA

MARCIANÒ MUSIC 453 High Street Northcote Vic 3070

Ambasciata d’Italia 2-12 Grey Street Deakin ACT 2600

LIEVITÀ 98 High Street Northcote Vic 3070

Perth

IL MELOGRANO 76 High Street Northcote Vic 3070 BAR NONNO 83 High Street Northcote Vic 3070 NORTH FITZROY Piedimonte’s Supermarket & Liquor 37­49A Best Street, North Fitzroy, VIC, 3068 Newagency at Piedimonte’s First Floor 37­49A Best Street, North Fitzroy, VIC, 3068 First Floor 37­49A Best Street PASCOE VALE

No Mafia 189 William Street Northbridge WA 6003 ChiCo Gelato 180 William Sreet Northbridge WA 6003 Spritz Spizzicheria 148 Scarborough Beach Rd Mount Hawthorn, WA Affogato 148 Scarborough Beach Rd, Mount Hawthorn WA 6016 FREMANTLE Parlapa 11 William St, Fremantle WA 6160

Piedimonte’s Supermarket & Liquor 366­368 Bell Street, Pascoe Vale, VIC, 3044

STOCKIST LIST 39

377 Lygon Street East Brunswick VIC 3057

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