Business: Services

“Americans in the West” Project included research on San Pedro, conducted by Doug Di Natale and David Taylor, Frank Russell, Paola Tavarelli. Further reading: Old Ties, New Attachments: Italian-American Folklife in the West, edited by David A. Taylor, John Alexander Williams, Library of Congress, 1992.

A Bit of History: Charles Speroni (1911-1984), Professor of Italian at UCLA, Dean of the College of Fine Arts, and perhaps best known for his Italian language reader, with C. Golino, Basic Italian, was one of the first to study Italian folklife in southern California. Among publications in this field, are: Charles Speroni, “California Fishermenís Festivals,” in Western Folklore, 14 (1955) 77-91; and “Observance of St. Joseph’s Day Among the Sicilians of Southern California.” Southern Folklore Quarterly 4.3 (1940): 135-139. University of California obituary, by Giovanni Cecchetti:…

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Clubs, Associations & Societies


Overview
Given the vast distances which separate the Italians of Los Angeles, their recent reluctance to cluster (there are no “Little Italies” here), and the relative lack of ‘symbolic’ spaces, Italian American associations have provided a crucial vehicle for the expression of Italian ethnicity in Los Angeles. It is informally estimated that only 10% of Italian Americans are active in such associations and that within associations, such as Sons of Italy and Unico National, approximately 85% – 90% of the membership are American-born Italian. While the large pan-Italian American associations claim the largest number of 2nd-, 3rd- and 4th-generation Italian Americans, the smaller regional and town clubs (often bearing a saint’s name) have a higher percentage of Italian-born Italian Americans who provide some cultural continuity and renewal. This may suggest that two historical phases are simultaneously present: the narrowly regional affiliations of those recently-arrived as versus the pan-national perspective of those with remoter ties to Italy. Italian-born immigrants, perhaps more secure in their cultural identity, seem less inclined to join associations than American-born Italians, although the strong and continuous presence of Pugliese at Casa Italiana contradict this generalization. There are nonetheless many and fluctuating Italian associations in Los Angeles, ranging from religious societies to civic, cultural, and philanthropic organizations, to professional associations and. Together, these clubs and associations generate almost all Italian “grassroots” events in Los Angeles.

Many Italians belong to not one but several associations at the same time, often including pan-Italian religious organizations (such as the widely-popular Italian Catholic Federation) or civic organizations (such as the Sons of Italy), along with membership in one of the more intimate regional or town clubs (recently returned to vogue). In fact, the current founding or resurrection of regional clubs e.g., for Piedmontesi, for Veneti, for Sicilians, suggests there is a return to cultural specificity. There is no need to belabor here the depth and richness of regional diversity within Italy. This necessarily resonates within the range of associations in Los Angeles. On the other hand, a non-sectarian social club such as the Garibaldina (heavily Piedmontese in origin, but now embracing all Italians) remains very popular (900 members strong, with a 300-person waiting list in the late 1980s). Regional clubs (e.g., Arba Sicula, Fameja Veneta, Piemontesi nel Mondo) are social yet at the same time have a strong interest in their traditional cultures. Arba Sicula (=’Sicilian Dawn’), the national Sicilian organization, has locally spun off at least one group which is also dedicated to Sicilian culture (Sicilia Culturale). The smaller, locally focussed organizations carry as their rallying points town names (Canneto Colony of Saints, Bosconero Society), saints’ names concealing local origins (Madonna di Costantinopoli and the San Trifone Society both formed by Bari-area Italians from Puglia), and overt regional names (Fameja Veneta, Arba Sicula, Piemontesi nel Mondo).

However they may address their benefactions, the majority of the clubs are social and tend to revolve around the Dinner Dance which forms the primary mode of Italian American socialization. The ‘heritage’ portion of their activities is minor by comparison. For instance, the Garibaldina holds an annual Italian Night and a Heritage Day as well, with staged folkdance and music. As part of their monthly dinner dances they also have a ‘heritage’ program (e.g., a member’s slide show on a recent “roots” trip to Italy).

Socially aspiring Italian Americans appear to favor more overtly Cultural (with a capital C) associations (e.g., Patrons of Italian Culture, the Italian Heritage Culture Foundation) for whom Italy is generally equated with high culture and not traditional folkways (although the Italian Heritage Culture Foundation and the Istituto Italiano di Cultura did sponsor the publication of the anthology Italian Traditional Song in 1989, edited by Luisa Del Giudice), and the Patrons have put on St. Josephís Tables. These associations attract non-Italian members as well.

There are national Italian organizations (Sons of Italy, Unico National, Italian Catholic Federation), and professional associations (e.g., American Educators of Italian Origin United, American Italian Dental Association). The focus of Italian American associations has evolved over the century of Italians’ presence in Los Angeles. Several of the largest, such as Sons of Italy and Unico National, Italian Catholic Federation, go back to the 1920’s. The majority of the organizations were formed in the 30’s and 40’s and many of these were primarily mutual aid and benevolent societies created for aiding newly-arrived immigrants, arranging relief for victims of the Depression, earthquakes, wars and so forth. Many of these societies formed around a hometown’s patron saint’s name, making the celebration of that saint a focus of their activities, along with the express purpose of raising funds for charities at home in Italy (e.g., an orphanage or hospital). In those nationalistic and overtly xenophobic years the clubs also served the purpose of tangibly displaying the Italian community’s contributions to American society. Once Italians entered the mainstream, professional associations for doctors, dentists, lawyers, educators were formed in tandem (even Italian priests have their association called Fraternitas). Only confidence and security in one’s own cultural identity furthermore could have spawned a club by the name of the DB Club (=Dago Bastards Club, if not a spoof!), mainly a social and charitable organization that sponsors golf and bocce tournaments. The associations of the 70’s and 80’s instead are regional clubs and cultural associations. Philanthropic concerns are part of almost all Italian groups from the professional to the social clubs, as funds raised go to various charities.

While those living through WWII in America wanted to mainstream quickly (recall that the Fascist sympathies of some organizations and even Italian newspapers led to their official suppression, as “co-belligerance” became a serious issue), now there is a reevaluation of what was lost and an attempt to recover some of it. Recently formed regional clubs have actively sought to revive and recreate more authentic home traditions: Arba Sicula had its first St. Joseph’s Table in 1989; the Piemontesi nel Mondo revived the post-Easter picnic outing (actually observed all through Italy), called Pasquetta (=`Little Easter’). Second and third generation Italians are seeking Italian lessons in greater numbers and making trips to Italy, and young Italian clubs do form. Renewed interest in Italian traditions of the latter generations, but also among the more recently arrived, has occasioned new or renewed clubs (the Italian American Club of San Pedro for instance). Many of these clubs have wider California networks, linking San Diego and Santa Barbara Italian communities to Los Angeles.

Of the various strata of Italians mentioned above, the earliest group of Italians is best represented in the Garibaldina, while the 2nd group, directly from Italy, center around their town and regional clubs. The 3rd group (also often immigrating from Italy but more often from the eastern American states) has frequently infused new life into many of the organizations. Having carried with them from the Little Italies of the East Coast memories of festivities and Italian cohesiveness, (together with more marked and painful memories of historic discrimination), they have often sought to recreate forms of traditional life in Los Angeles (See: FOLK FESTIVAL, San Gennaro). Many associations provide a blend of Italians however and a sense of continuity frequently exists between the older, more Americanized, non-Italian speakers, to the more traditional and Italian-speaking immigrants from North (and South) America, as well as directly from Italy.

The “Federated”: Founded in 1947, the Federated Italo-Americans of Southern California is an umbrella organization which unites the many clubs and societies associated with Italian heritage in Southern California. As stated in its by-laws, the Federated was organized “to gather the strength of all Italo-American organizations and unify their efforts.” It brings together community leaders to plan celebrations of major events (e.g. Italy’s Republic Day, Columbus Day, See: CELEBRATIONS) to exchange and share ideas, to honor outstanding individuals and organizations, and to preserve Italian heritage.…

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NORTHERN ITALIAN CLUBS

Piemontesi nel Mondo of Southern California (Est. 1988)
P.O. Box 943
Montebello, CA 90640-0943
Email: PNMSoCal@yahoo.com

Bosconero Society (Est. 1946)
Pres.: Mario Zanotti
913 Domingo Drive
San Gabriel, CA 91775
Tel: (626) 289-1358
Liguria

Liguri nel Mondo
Roby Nocco
13512 Studebaker Road
Norwalk, CA 90650
Trentino-Alto Adige

Trentino Club of Southern California
Pres.: Leo Zamboni
3008 Dow Avenue.
90278 Redondo Beach, CA.
E-mail:leo.zamboni@verizon.net

Secretary: Ann Gobber
9247 Blackley St
Temple City CA 91780 – 3137
E-mail:M782000@cs.com

Veneto

Famiglia Triveneta di Los Angeles
Pres.: Piergiorgio Luciani
1917 11th Street – Suite n. 1
Santa Monica, CA 90401

La Fameja Veneta
c/o Com.It.Es
10350 Santa Monica Blvd., #210
Los Angeles, CA 90025
Tel: (310) 691-8907
Fax: (310) 557-1217
E-mail: comites@comitesla.net…

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Italian Catholics

St. Peter’s Italian Catholic Church on
Broadway, the only national parish
in the Southland
St. Peter’s Italian Catholic Church (& Casa Italiana)
1039 N. Broadway
Los Angeles, CA 90012
Tel: 323-225-8119
Fax: 323-225-0085
E-mail: stpeterit@yahoo.com
Fr. Raniero Alessandrini, CS

Scalabrini House of Discernment
St. Peter’s Italian Church 1039 N. Broadway
Los Angeles, CA 90012
Vocation Office Director 323-225-8027
See: COMMUNITY SITES, Community Sites & Meeting Place -The Scalabrini Order ((I Missionari di San Carlo Borromeo; The Missionaries of Saint Charles Borromeo) and www.scalabrini.org
See: SENIORS, Retirement Centers – Villa Scalabrini

Mary Star of the Sea, on bell/clock tower
of the San Pedro church
Mary Star of the Sea Church

870 8th St.
San Pedro, CA 90731
Tel: (310) 833-3541
Fax : (310)833-9254
E-mail: office@marystar.org

Rev. Fr. John Provenza
See: CELEBRATIONS, Folk Festival, St. Joseph’s Tables

Italian Catholic Federation See: CLUBS, ASSOCIATIONS & SOCIETIES Religious Associations, Patron Saint Societies and http://www.icf.org

Italian-speaking Roman Catholic priests (celebration of Mass in Italian):

Fr. Giovanni Bizzotto, C.S. (Villa Scalabrini, St. Charles Rectory)
Fr. Raniero Alessandrini, C.S. (St. Peterís Italian Church)
Fr. Esvin Marroquin Sanchez (St. Peterís Italian Church)
Fr. Ermete Nazzani, C.S. (Villa Scalabrini, Exec. Dir)
Fr. Antonio Cacciapuoti, (Church of Christ the King, Hollywood)
Fr. John Provenza (Mary Star of the Sea Church, San Pedro)
Fr. Richard Zanotti (Our Lady of the Holy Rosary Catholic Church, Sun Valley)
Fr. Augusto Moretti (Emeritus, Pasadena)

A representation of Mother
Cabrini in stained-glass,
inside Mary Star of the Sea
Church, San Pedro

A Bit of History: Saint, Mother Francis Xavier Cabrini (1850-1917), built orphanage in downtown Los Angeles. “Cabrini, the first U.S. citizen to be declared a saint by the Catholic Church, built the shrine in the early years of this century in honor of the Virgin Mary. Until Monday, the grotto was all that remained of an orphanage operated by Cabrini’s order, the Missionary Sisters of the Sacred Heart, just north of downtown. On Monday morning, to make way for an apartment complex, workers began breaking up the structure and gathering the rocks in baskets to rebuild the shrine at a Sunland retirement homeóthis time to honor Cabrini. “She had nothing when she died,” said Gloria Lothrop, who holds the Whitsett Chair of California History at California State University Northridge, and spearheaded the effort to save the shrine.

Santa Lucia statue at the Santa Lucia

feast day dinner
“But she dedicated her life to helping Italian immigrants all over the Western Hemisphere. And she loved Los Angeles.” [Ö] The Regina Coeli (“Queen of Heaven” in Latin) Orphanage on what is now Cesar Chavez Avenue was founded in 1906. [Ö] Around the time of Cabrini’s death, the Los Angeles orphanage was moved to Burbank, where it later served as a clinic for teenage girls in danger of getting tuberculosis and as Villa Cabrini High School.” The shrine was moved to the Villa Scalabrini Retirement Center [See: SENIORS, Retirement Centers – Villa Scalabrini From: “Saint’s Legacy of Service Survives in L.A.; Religion: Shrine that Mother Cabrini helped create in early 1900s is saved and will get a new home in Sunland,…

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Writers & Translators

Leo Politi: Artist, author, and book illustrator. “Politi began publishing childrenís books on local themes in 1938. In 1949 The Mission Bell, an illustrated work about San Juan Mission, won the coveted Caldecott Medal for childrenís literature. Politi lived on Bunker Hill for over 30 years. In the 1950s and 1960s, when the Community Redevelopment Agency slated that neighborhood for total destruction and urban renewal, Politi painted the Victorian buildings as they might have appeared half a century earlier, publishing the illustrations in Bunker Hill, Los Angeles (1964). He also issued a collection of watercolors depicting the early parks of Los Angeles, and painted a mural on the Biscailuz Building in El Pueblo Park in the 1970s.” (From: Leonard Pitt and Dale Pitt, Los Angeles A to Z: An encyclopedia of the city and county, University of California Press, Berkeley and Los Angeles, 1997.) Politi was born in Fresno in 1908 and died in 1996. A year-long series of events to commemorate the 2008 Leo Politi Centennial

Works written and illustrated by Leo Politi:

AngeLeno Heights Los Angeles: Leo Politi, 1989.

A Boat for Peppe, New York: Scribner, 1950.

Bunker Hill, Los Angeles: reminiscences of bygone days, Palm Desert, Calif.: Desert-Southwest, 1964.

Paul Politi, son of Leo Politi, with the
Friends of Leo Politi, sharing artwork
and stories, 2005
The butterflies come, New York: Scribnerís, 1957

Emmet, New York: Scribnerís, 1971.

Juanita, New York: Scribner, 1948.

Lito and the clown, New York: Scribner, 1964.

Little Leo. New York: Scribner, 1951.

Little Pancho, New York: The Viking press, 1938.

Mieko, San Carlos, Calif.: Golden Gate Junior Books, 1969.

The Mission Bell, New York: Scribner, 1953.

Moy Moy, New York: Scribner, 1960.

Mr. Fongís Toy Shop, New York: Scribner, c1978

The Nicest Gift, New York: Scribner, [1973]

Pedro, the Angel of Olvera Street, New York: C. Scribnerís sons, 1946.

Piccoloís Prank, New York: Scribner, 1965.

The Poinsettia, Palm Desert, Calif.: Best-West Publications, 1967.

Redlands Impressions, Redlands, Calif. (300 E. State St., Redlands 92373): Moore Historical Foundation, c1983.

Rosa, New York: C. Scribnerís, c1963

Saint Francis and the Animals, New York: Scribner, 1959.

Song of the Swallows, New York: Atheneum Books for Young Readers, 1948.

Tales of the Los Angeles Parks, Palm Desert, Calif.: Best-West Publications, 1966.

Three Stalks of Corn, New York: Scribner, 1976.

Young Giotto, Boston: Horn Book, 1947.

Of related interest:

Around the World, Around our Town: Recipes from San Pedro, edited by Dolores S. Lisica; illustrated by Leo Politi. San Pedro, Calif.: Friends of the San Pedro Library, 1986.

A Bit of History: John Fante. “Los Angeles, give me some of you! Los Angeles, come to me the way I came to you, my feet over your streets, you pretty town I loved you so much, you sad flower in the sand, you pretty town.” So intones Arturo Bandini, the hero of John Fante’s “Ask the Dust.” Holed up in his cheap room, subsisting on oranges and stubborn determination, he is the quintessential starving artist, his base not a romantic garret in Paris, or even a drafty loft in Manhattan, but a rooming house on Bunker Hill, Los Angeles. He has come, like his creator, from a poor Italian family in Colorado, left his religion and his family to become that great thing, a writer. Arturo’s success seems both imminent and highly unlikely. But succeed he does.
“Fante’s inauspicious beginnings are mirrored by those of his protagonist, Bandini. His father was an immigrant Italian stonemason; his mother Italian American and frustratingly pious. Born in Denver, he survived a childhood shaped by poverty and prejudice, as well as by the sorry clash between his mother’s meekness and his father’s drinking, brawling, gambling and macho posturing. Fante was educated in the local Catholic primary school and a Jesuit secondary school; he considered a career in the priesthood until he began to question Catholic teachings. Thereafter his relationship with his family religion grew more complex and antagonistic.

In 1929, Fante left Colorado for Los Angeles, striking out on his own soon after his father left the family for another woman. Though Fante later claimed that “[p]overty drove me out to California,” [Stephen] Cooper asserts that “[h]e was going to become a writer.” He settled in Wilmington and a job in the fish canneries. He began writing between shifts, and his experiences working in the canneries and the docks, the hard men, the racial divides, all found their way into his exquisite fiction. It was, however, his family, alternately cast as the Bandinis, the Toscanas, the Molises, that preoccupied the majority of Fante’s work.” Excerpt from: Book review by Phyllis Richardson of Dreams From Bunker Hill; Full of Life: A Biography of John Fante (by Stephen Cooper); North Point Press. Full review by Phyllis Richardson in: Los Angeles Times, Apr 16, 2000, p. 20. A conference on the writer: John Fante: The First Conference, was held from at California State University, Long Beach, May 4-6, 1995.

John Fanteís Works:

1933 Was a Bad Year, Santa Barbara: Black Sparrow Press, 1985

Ask the Dust, New York: Stackpole Sons, 1939.

The Big Hunger: Stories, 1932-1959, edited by Stephen Cooper, Santa Rosa, CA: Black Sparrow Press, 2000.

Bravo, Burro! by John Fante and Rudolph Borchert; illustrated by Marilyn Hirsh. New York: Hawthorn Books,[1970]

The Brotherhood of the Grape, Boston: Houghton Mifflin, 1977.

Dago Red, illustrated by Valenti Angelo, New York: The Viking press, 1940.

Dreams from Bunker Hill, Santa Barbara: Black Sparrow Press,c1982

John Fante & H.L. Mencken: a personal correspondence, 1930-1952, edited by Michael Moreau; consulting editor, Joyce Fante, Santa Rosa: Black Sparrow Press, 1989.

Full of Life, Boston: Little, Brown, 1952.

The Road to Los Angeles, Santa Barbara: Black Sparrow Press, 1985.

Wait Until Spring, Bandini, New York: Stackpole Sons, 1938.

West of Rome: Two Novellas, Santa Barbara: Black Sparrow Press, 1986.

The Wine of Youth: Selected Stories, New York: Ecco, 2002.

Other Southern California writers: Lawrence Madalena, Jo Pagano.…

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Sicilian Folk life in Los Angeles

Many aspects of traditional life seem to have fared better among Sicilians than among other regional Italians. Sicilians still dance the tarantella, sing dialect songs informally, practice their folk religious rituals and regional cuisine. As one Sicilian, Virginia Buscemi Carlson, passionately affirms: “without our traditions, there would be nothing left: we would be just like everyone else.” It may be no coincidence therefore, that more than one cultural group exists for Sicilians in Los Angeles (Arba Sicula and Sicilia Culturale [See: CLUBS AND ASSOCIATIONS). The feast day of St. Joseph’s in Los Angeles features a notable Sicilian custom: St. Joseph’s Day Tables. This custom has not only been maintained through two and three generations largely intact, but actually shows some signs of crossing ethnic and religious boundaries. In 2005, for example, a Table was be offered at All Saints Episcopal Church (in conjunction with Slow Food and Sustainable World), in Pasadena, as part of a food justice program.

“The mid-Lenten Sicilian custom of the St. Joseph’s Table, often lasting as many as three days (St. Joseph’s feast day is March 19), is widely celebrated in Los Angeles, as in many other areas of diaspora Sicilian settlement.

St. Joseph’s “table” normally includes a devotional altar with a statue of the saint holding the infant Jesus, rising (or separate) from a table, blessed by a priest. The table is laden with elaborate food offerings of traditional braided breads, vegetables, fruits, and sweets. The ritual collection of these foods by begging (the questua) from family, friends, even strangers, is a necessary aspect of offering an altar.

The large braided breads (cudureddi) are typically in the form of cross, crown (for Jesus), staff (for Joseph), palm (for Mary), while the smaller breads may symbolize instruments of the Passion, or even fanciful shapes such as sun, moon, stars, flowers, birds, and so forth. Vegetables include fried or stuffed cauliflower, artichokes, zucchine, eggplant, cardoons, frittate (omelettes) of every sort: fava bean, asparagus, peas, peppers, while the season’s finest first fruits are arranged in baskets replicating cornucopias of plenty. Since this feast falls within the meatless Lenten season, fish is featured, as are traditional Sicilian sweets such as persiche (cream-filled pasteries made to look like peaches), cassadini (sweet ravioli), sfingi, cannoli, and fig cookies.

Many continue to be private devotional tables, promised to the saint to secure favor for a loved one who is sick or in some special need, or in response to a prayer which has been granted, to honor one’s namesake, or as a general “Sicilian Thanksgiving.” Increasingly, however, tables are becoming public or semi-public events, held in a church (often affiliated with the Italian Catholic Federation, ICF [see: RELIGION]), banquet hall, retirement home, or family business.

Widely diffused in Sicily, St. Joseph’s tables were primarily meant for directly feeding the poor as a form of public charity. Now, in Sicily, as in Los Angeles, they function more indirectly as a means of raising funds for charities. Three of the poorest of the village, including orphans, were dressed as Mary, Joseph, Jesus (I santi, the “Saints” as they are called) and reenacted the Holy Family seeking lodging (cf. Las Posadas for Mexicans). The Family ritually knocks on three doors, is turned away twice, and then finally finds shelter and food at the home of the family giving the table. The “Saints” are seated directly at the table, and served a substantial meal (a taste of every item, sometimes a ritual 3, of the blessed food). Thereafter, all are invited to the communal banquet where typically a “poor man’s meal” is served: either a bean soup, a cuscusu (couscous) if you are from Trapani, or pasta with sarde (pasta with sardines), in addition to bread and fruit. No one is turned away. In Sicily, an olive branch or palm frond over the door signaled to the village that a family had opened its doors to the community. After supper, guests are given blessed foods, a bread roll, perhaps an orange, and perhaps fava beans (sometimes referred to as “lucky beans”) to take home.

Although details vary among Sicilians themselves, the focus is always on the altar-table, and on feeding the community, whether that is a restricted circle of family and friends, the neighborhood, or village, and on how the funds are gathered. At public events, food may be sold or auctioned, a donation may be requested for the meal or for viewing the table. In Sicily, significant funds may be raised by auctioning St. Joseph’s beard! Proceeds and foods are then given to the poor.

You can participate in these festivities in several places around town: at Casa Italiana (affiliated with St. Peter’s Italian Church, 1039 North Broadway), at many churches affiliated with the Italian Catholic Federation, as well as at Mary Star of the Sea church in San Pedro (870 8th St.), where one of the most fully-articulated celebrations occurs, including a special mass, a procession with saint, followed by children in costume, a marching band, guilds, societies, and confraternities, and ending in a large banquet. It was at this church that the first public table ever given in the Los Angeles area was held in 1958, according to Charles Speroni, one of the first to study St. Joseph Tables in Southern California. The church’s own St. Joseph Guild, comprised of approximately 35 (largely Sicilian) women, whose yearly task it is to organize the public charity event and feed hundreds from the church kitchen, celebrated its 25th anniversary in 1998.

St. Joseph’s Tables have become one of the major manifestations of Italian ethnicity in Los Angeles. As the poor and the homeless grow in Los Angeles, this ethnically-specific custom has gained renewed relevancy. It is perhaps for this reason, in part, that St. Joseph is finding his place in the city of Angels, and into the hearts of non-Sicilians as well, making this ritual of food redistribution a “feast for our times.” With its simplicity of intent, a tradition with roots in a far-off land and remote past addresses issues which are both contemporary and urgent, and demonstrates once again how traditional cultures may enrich modern urban life and help tackle some of its problemsñwith humanity, grace, and sometimes divine inspiration.”

[Excerpt from: Luisa Del Giudice, “Joseph Among the Angels: St Joseph’s Tables and Feeding the Poor in Los Angeles,” exhibition program, exhibition co-curated by Luisa Del Giudice and Virginia Buscemi Carlson, UCLA at the Armand Hammer Museum and Cultural Center, March 18-19, 1998.All Rights Reserved]…

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Traditional Music, Opera, Composers

Performing in Los Angeles since 1994, Musicàntica performs the music from Southern Italy’s oral traditions (e.g., the music associated with peasants, fishermen, street vendors) while blending more contemporary musical styles in Mediterranean World Music. Their repertoire includes traditional and original compositions. “The connection between the southern Italian tradition, the individual experiences as immigrants in Southern California, and the symbolic remembrance of the sounds of their respective birthplaces is evident in the artists’ various improvisations and re-adaptations of older material.” Among the native Italian instruments they use are: tamburieddhru (a frame drum used for the Pulgiese pizzica tarantata dance); the putipù (a friction drum); the chitarra battente (a 10-string guitar from the Renaissance), the benas (a single and double Sardinian reed clarinet), and the marranzanu, or jaw’s harp—as well as other percussion instruments such as castanets, animal jingle collars, sheep copper bells. They also feature the fina (created by Enzo Fina), a lamellaphone inspired by the African mbira, and other creatively adapted hand-made instruments.

Roberto Catalano, “Development and Hypnotic Performance of an African Lamellaphone in the Salentine Area,” in Performing Ecstasies: Music, Dance, and Ritual in the Mediterranean, ed. Luisa Del Giudice and Nancy Van Deusen, 89-102. Ottawa: The Institute for Medieval Music, 2005.

Roberto Catalano and Enzo Fina, “Simple Does Not Mean Easy: Oral Traditional Values, Music, and the Musicàntica Experience,” in Oral History, Oral Culture and Italian American,” ed. Luisa Del Giudice, New York: Palgrave Macmillan, 2009.

Italian Traditional Song (2 audio cassettes + 135 pp. booklet), ed. by Luisa Del Giudice, for the Italian Heritage Culture Foundation and the Italian Cultural Institute, Los Angeles, 1989, 2nd rev. ed., IIC, 1995 (with English translations of dialect texts): Luisa Del Giudice, (310) 474-1698; luisadg@humnet.ucla.edu

Alessandra Belloni, New York-based percussionist, artistic director of I Giullari di Piazza, and teacher, together with composer John La Barbera, former music director of the ensemble, are perhaps the most prominent (and longest active) performers of southern Italian folk music, dance, and theater in the U.S. Alessandra frequently performs and conducts workshops in Los Angeles. “I Giullari di Piazza also specialize in the improvisational style of Commedia dell’Arte theater, with music and dance, masks and giant puppets, combining mythic rituals of Pagan-Christian origins. Through the creation of new works based on these old traditions, our goal is to encourage Italian-American awareness, interest and pride in this rich ethnic heritage which has been lost due to […] assimilation.” For CD’s, DVD’s and other publications, consult Belloni and La Barbera Web sites.

Among this New York-based company’s productions are: La Befana, Festa Primavera, Carnival performances, and Caffè concerto, a “nostalgic musical theatre production exploring the charming musical and literary legacy of the early Italian-American immigrants.” This entertainment included Italian vaudeville show with music, songs, dance, comedy and specialty acts performed in nightclubs and little theatres in Little Italy.”

IFAFA
Italian Folk Art Federation of America, Inc.
P.O. Box 1192
Rockford, IL 61105
http://www.italian-american.com/ifafa/IFAFALinks.htm

An association that seeks to preserve and foster interest in Italian folk arts. Incorporated in 1979 by Elba Farabegoli Gurzau (author of Folk Dances, Costumes, and Customs of Italy)…

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Media

A Bit of History: The only Italian newspaper on the West Coast, since 1908: L’Italo-Americano was founded in 1908 by Gabriello Spini, a learned Florentine, who wanted to “Inform, Unite and Assist” the rising Italian American community of Los Angeles. In 1924 Cleto Baroni, Spini’s nephew, became Associate Editor, and in 1933 assumed sole ownership and editorial responsibility of L’Italo-Americano directing its destiny single-handedly for 38 years. In 1963 Gabriello Spini died at age 89.

Mr. Baroni, to ensure stability of service, sold L’Italo-Americano (1971) to The Fathers of St. Charles (Scalabrinians) and Fr. Mario Trecco became the new editor of the newspaper. [Ö] in 1980 L’Italo-Americano acquired L’Eco d’Italia of San Francisco and became the only Italian newspaper on the West Coast. Two years later, Cleto Baroni died at age 85, after 65 years of service to the newspaper.

In 1983 L’Italo-Americano celebrated its diamond jubilee and in1986 acquired a more modern look by going tabloid size. Trecco remained in charge of L’Italo-Americano until 1990 when Fr. Augusto Feccia became its new editor. [Ö] In 1998 Fr. Feccia relinquished the position of editor to Fr. Ermete Nazzani. [Ö] The Fathers of Saint Charles in 1999 sold L’Italo-Americano to Mr. Mario Trecco, who became its sole owner and director. As of July 1, 2004 L’Italo-Americano became the property of L’Italo American Foundation, under the direction of Head Publisher Robert Barbera. Mario Trecco remains the editor of the newspaper.…

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