chips
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____L'istruzione è l'arma più potente che puoi usare per cambiare il mondo.
Nelson Mandela

NO CRASH, spaziorisonante
goals 8-10 Agenda 2030
A space, symbolizing any neglected, marginal area of the world, becomes a global stage to address the whole world and from which a cry for freedom emerges: freedom from the slavery of labor without rights.
direction, photography and video editing: Carlo Magrì _ Imagem srl
screenplay and original subject: Rita Forlani
production secretary: Isabella Amidei e Paola Fabbri
International relationship: Alessandra Bonzi
special guest
choreography and dance: Giuseppe Devito Spinelli
thanks to
Bartolo Sicari _ photographer ©foto Bartolo Sicari
Maurizio Lelli _ video assostant
production


Executive Producer
Massimo Bettalico
patronage



partners



in collaboration with

ZED International Festival of Videodance (Bologna from 8 to 14 October 2020)
hosts the event of 11th October in section INCONTRI

hosts the event of 11th October in section INCONTRI



speakers: Marco Lombardo Councillor for Labour , Municipality of Bologna _ Vincenzo Colla Councillor for Labour and Economic Development, Emilia-Romagna Region _ Cesare Damiano Councillor INAIL and President Lavoro&Welfare _ Bruno Galvani President ANMIL Onlus Foundation _ Lucariello Rapper/Educatore, National Italian Singers Association_ Massimo Bettalico Executive Producer of the short film, National Italian Singers Ass. _ Carlo Magrì Direction of the short film, Imagem Srl _ Paola Samoggia Music and Conception of the Project, Imagem Srl _ Giuseppe Devito Spinelli Choreography and Dance _ Enrico Coffetti President of Cro.Me (Cronache e Memorie dello Spettacolo= per ZED Festival Internazionale di Videodanza.
photo below right: the speakers (Cesare Damiano, Vincenzo Colla and Massimo Bettalico connected online due to unforeseen Covid quarantine)
photo below right: the speakers (Cesare Damiano, Vincenzo Colla and Massimo Bettalico connected online due to unforeseen Covid quarantine)
Giuseppe Devito Spinelli
choreography and dance (video No Crash)
My idea of research started from a sad and not isolated historical accident at work in our country. Information and testimonies gave me the opportunity to improve my knowledge about the issue of workplace deaths, which unfortunately continues to be current. Among the fundamental references for the choreographic creation, I consider as protagonists those sheds and factories that house machinery, scaffolding, deafening or repetitive noises, specific smells and temperatures.
In addition to these sensitive elements, I think about the working man fitting into the context and becoming an integral part of a robotic, compulsive and alienating assembly line. This context provides me to empathise with the daily process workers are subjected, and considering the starting idea, to reflect on the real safety conditions at work.
Finally, I thought about my training as a dancer, the study of a discipline, mastering a technique, internalising a form or an aesthetic code. I easily associated this personal experience with the idea of dance and creative research. This last reflection reminded me of the thin line between the dancer-athlete, perfectly reproducing forms and aesthetic codes, and the dancer-artist, exploiting and transforming that code into an absolutely personal product. How does this reflection fit into the original choreographic research? The answer is simple: in the dichotomy between the man who dances the machine and the man who dances the personal need to claim his own humanity.
choreography and dance (video No Crash)
My idea of research started from a sad and not isolated historical accident at work in our country. Information and testimonies gave me the opportunity to improve my knowledge about the issue of workplace deaths, which unfortunately continues to be current. Among the fundamental references for the choreographic creation, I consider as protagonists those sheds and factories that house machinery, scaffolding, deafening or repetitive noises, specific smells and temperatures.
In addition to these sensitive elements, I think about the working man fitting into the context and becoming an integral part of a robotic, compulsive and alienating assembly line. This context provides me to empathise with the daily process workers are subjected, and considering the starting idea, to reflect on the real safety conditions at work.
Finally, I thought about my training as a dancer, the study of a discipline, mastering a technique, internalising a form or an aesthetic code. I easily associated this personal experience with the idea of dance and creative research. This last reflection reminded me of the thin line between the dancer-athlete, perfectly reproducing forms and aesthetic codes, and the dancer-artist, exploiting and transforming that code into an absolutely personal product. How does this reflection fit into the original choreographic research? The answer is simple: in the dichotomy between the man who dances the machine and the man who dances the personal need to claim his own humanity.


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