Uniqueness. A concept that sticks in the mind, even when the spotlight is off. Sanremo (a very famous Italian music festival) is a bit like a photo that provides an authentic and fairly faithful cross-section of the contemporary Italy in which we live. Sanremo is the stage on which this sociological reportage takes shape, and every year it is enriched with new pages, but what makes it possible and effective are the people: the artistic director who composes the alchemic concoction of events that follow one another in the spotlight, the artists with their words and performances, the special guests, the orchestra, the fashion (which in Sanremo comes back to life on the “flesh”).
Sanremo 2022 told us a lot of things: the national-popular energy that resurfaces after a dark period, the realisation that the new generations have already overcome certain gender stereotypes, and that some previous ones are still too scared to face them in prime time (but we appreciate the effort), some old mechanisms that persist while looking for new forms of expression, the attempts (sometimes a bit clumsy) to be really inclusive. In short, the compromises of our Italy are all there.
However, there are two things above all that I want to permanently note in the digital pages of the ‘kaleidoscopic’ diary that is Caleido.
On the one hand, the contagious desire for the future, with a very high concentration of young people (both in terms of age and artistic maturity) on stage: Irama was born in 1995, Blanco (who won with Mahmood) in 2003, and many are those born after 2000, such as Sangiovanni, Aka7even, Matteo Romano (star of TikTok).
On the other hand, the ability of music (and its surroundings) to take on social issues such as inclusion. In years gone by, it would have been unthinkable to reach the general public with issues like these through a pop and politicised stage like the Ariston Theatre (the location of Sanremo music festival). Now, however, it is also here that social battles are fought, reaching out to tens of millions of Italians: with culture, music, determination and a certain amount of wit. With clever words like those of Drusilla Foer, emotionally (and physically) intense stage performances like those of Mahmood and Blanco, Francesca Michielin, the first woman to conduct the orchestra, or looks that don’t care about gender stereotypes (I’m thinking of Achille Lauro’s outfit worn during the final evening). Small-big gestures of freedom that should be completely normal, not even noteworthy, as Emma said, but which are not yet. And so, at least for now, they should be highlighted.
I will close with 3 passages from @drusillafoer‘s monologue, which I would like to transcribe into the pages of Caleido’s diary, so that they can be re-read even when the “Stories” disappear after 24 hours:
“I don’t like the word diversity, it has something comparative about it and a distance that doesn’t convince me. I looked for a term to replace it and I found uniqueness: I like it, everyone likes it, because we are all capable of noticing the uniqueness of others and we all think we are unique. But in order to understand and accept one’s uniqueness, it is necessary to understand what it is made of, what we are made of, certainly beautiful things, ambitions, values, beliefs, talents”.
“It’s not easy at all, but all the things that inhabit us must be taken by the hand and brought up, in the purity of freedom. Let’s try together the most revolutionary act there is: listening to ourselves, to our uniqueness, to make sure that our convictions are not just conventions“.
“Let’s let our thoughts flow freely and without prejudice or shame. Let feelings flow freely and free ourselves from the captivity of immobility. Imagine if the world did not rotate and fixed itself, if all the darkness was pitch black”.