Tufo, therefore, has strong religions roots. The same archival documents reveal that, in its origin, the dance was only performed in rituals and festive moments associated to the Muslim faith, but with time the dance was popularized and secularized.
“When I was little, I was mesmerized listening to the stories told by my grandparents. My grandfather was a sailor. He travelled to the poles for exploration and when he returned he would tell us a lot of stories. It is a very special thing for me to tell my family's stories. What about my grandmother! My grandmother had an incredible imagination. She made up stories. My favorite story was 'Kai Hai'. It was the name of a shark, Kai.
We can establish, through renewed rituals, a collective ethic of memory. This shows that the fractured past has to be used with a sense of responsibility that is public, and not private, that is of the present, and not of the past. This responsibility concerns not only Northern Ireland, but all the unheralded contexts of divided memory. Ours too.
It would be a supreme fantasy to think, naively, that we can fully recognize the black blood that lies beneath the foundations of nation-empires and post-empires if we also leave in place the very stones that sustain and adorn the idea of the nation.
We urgently need a return to culture as the filter between individuals and the political, broadly conceived. Without this we will not escape from the current situation that, not only in Italy, finds its reflection in the protagonist of Paolo Sorrentino’s acclaimed La Grande Bellezza: the tragic, failed, mundane visage of Jep Gambardella.
My research on the nonaligned comes from a cultural and art-historical position. It is an interdisciplinary approach to understanding how the non-aligned movement, apart from creating political, or social, or economic alliances was also attempting to create cultural alliances that would counter Western cultural hegemony, and what many in the movement, who were interested in culture, also called Western cultural imperialism.
In France, in spite of the economic context of the Trente Glorieuses being favourable to the absorption of labour, the socioprofessional characteristics of the French people who arrived from Algeria did not correspond to the needs of the French labour market, which required industrially qualified workers. In the Portuguese case the inverse situation pertained.
Tufo, therefore, has strong religions roots. The same archival documents reveal that, in its origin, the dance was only performed in rituals and festive moments associated to the Muslim faith, but with time the dance was popularized and secularized. 
“When I was little, I was mesmerized listening to the stories told by my grandparents. My grandfather was a sailor. He travelled to the poles for exploration and when he returned he would tell us a lot of stories. It is a very special thing for me to tell my family's stories. What about my grandmother! My grandmother had an incredible imagination. She made up stories. My favorite story was 'Kai Hai'. It was the name of a shark, Kai. 
We can establish, through renewed rituals, a collective ethic of memory. This shows that the fractured past has to be used with a sense of responsibility that is public, and not private, that is of the present, and not of the past. This responsibility concerns not only Northern Ireland, but all the unheralded contexts of divided memory. Ours too. 
It would be a supreme fantasy to think, naively, that we can fully recognize the black blood that lies beneath the foundations of nation-empires and post-empires if we also leave in place the very stones that sustain and adorn the idea of the nation. 
We urgently need a return to culture as the filter between individuals and the political, broadly conceived. Without this we will not escape from the current situation that, not only in Italy, finds its reflection in the protagonist of Paolo Sorrentino’s acclaimed La Grande Bellezza: the tragic, failed, mundane visage of Jep Gambardella. 
My research on the nonaligned comes from a cultural and art-historical position. It is an interdisciplinary approach to understanding how the non-aligned movement, apart from creating political, or social, or economic alliances was also attempting to create cultural alliances that would counter Western cultural hegemony, and what many in the movement, who were interested in culture, also called Western cultural imperialism. 
In France, in spite of the economic context of the Trente Glorieuses being favourable to the absorption of labour, the socioprofessional characteristics of the French people who arrived from Algeria did not correspond to the needs of the French labour market, which required industrially qualified workers. In the Portuguese case the inverse situation pertained. 
