Blending magazine spring 2013

CITY & COMMUNITY

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A Florence far away from the routes of tourism, lived and recounted by those whose daily lives are the city and who imagine a different future for it. SPRING 2013

Photograph by Tiffany Aguiar

It is only with the heart that one can see rightly; what is essential is invisible to the eye.

The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible.

To hear never-heard sounds, To see never-seen colors and shapes, To try to understand the imperceptible Power pervading the world; To ďŹ&#x201A;y and ďŹ nd pure ethereal substances That are not of matter But of that invisible soul pervading reality. As a moment saved without planning.

There are no clear borders, only merging invisible to the sight.

The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the ďŹ&#x201A;ags, every segment marked in turn with scratches, indentations, scrolls.

Blending Magazine is a semesterly publication produced by the students and faculty members of Florence University of the Arts, the academic member of Palazzi Florence Association for International Education. Semestrale / Semesterly Magazine Reg. Trib. di Firenze n° 5844 del 29 luglio 2011 Anno 3 – Numero 1 – Primavera 2013 / Year 3 - Issue 1 – Spring 2013 Direttore Responsabile / Editor-in-chief Matteo Brogi Caporedattore / Editorial Director Grace Joh Coordinamento editoriale / Managing Editor Federico Cagnucci Coordinamento studenti / Student Editors Renee Puno, Yun-Yen Chuang

Editore / Publisher Florence Campus per INGORDA Editore Via Alfonso La Marmora 39 50121 Firenze

++++++++++++ In redazione / Masthead Redazione / Copy Editors Renee Puno, Katelynn Rusnock, Laurel Yetter Progetto graﬁco e impaginazione / Graphic design and layout Federico Cagnucci Fotograﬁ / Photographers Tiffany Aguiar, Yun-Yen Chuang, Holly Ciocci, Maggy Kilroy, Nicolette Sarzosa, David Weiss, Laurel Yetter Illustratori / Illustrators Yun-Yen Chuang Copertina / Cover By Federico Cagnucci Ringraziamenti / Special Thanks To Laurel Yetter, for the “A Day in the Life” interview series

Photograph by Holly Ciocci

Sede editoriale / Editorial Headquarters: Corso Tintori 21 50121 Firenze Tel. 055-0332745 Stampa / Printer Graﬁche Gelli s.r.l., via G. Leopardi, 11 - Calenzano (FI) Il numero è stato chiuso in redazione nel mese di maggio 2013 / This issue was completed in May 2013 Copyright © 2013 by Florence Campus, Firenze All rights reserved.

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Photograph by David Weiss

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Councilor Meucci has covered the role for urban and territorial planning in the city of Florence and its greater area since 2011. She is aligned with the PD (Partito Democratico) political party and presents herself with ease and elegance. She is rigorously dedicated to the bicycle as her single means of transportation, even during the winter. When it rains, she pedals while carrying an umbrella. Blending followed the councilor to work where she

described with attention and detail what her priorities are for what she considers “the most beautiful city in the world”: “Florence is a magniﬁcent city, its artistic heritage is sought out by the entire world. The city center has been nominated by UNESCO as a world heritage site and it is evident that tourism represents an important element of the city’s economy. However, the excessive and increasing ﬂux of tourism can generate con-

flicts with the city’s residents and economic operators. Thus the tools of urban planning are proposed to contrast this tendency by seeking to avoid transforming Florence into a museum. Protective measures are created to safeguard residential living in central areas, prevent modification to the residential use of these areas, create a network of services for inhabitants, and place limits on the entrance of new tourism-driven facilities.” Councilor Meucci has a very contemporary vision of her city and her goal, based on the positive increase of longterm residents in town (+20,000), is to create a common ground that is advantageous for both tourism and the residential repopulation of the historic center. This is to be achieved through the creation of adequate services and community spaces. The overall goal means that collective and shared spaces must be re-evaluated, with 70% of these spaces being destined to residential use and the remaining percentage to tourism-geared facilities. The councilor reiterates that “The city that is lived through its community and public spaces is a city that belongs to everyone, a city whose center is filled with squares instead of parking lots.” The urban structural plan dating to June 2011, the councilor points out, was in fact based on these community themes and the new urban regulation slated for October 2013 will no longer represent the by now obsolete regulating plan of the past. The previous plan established year by year the differences and deformities that deviated from the municipal planning, the forthcoming urban regulation seeks instead to provide tools for growth that supersede the limitations imposed by tight timing schedules.

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Currently in the works are important projects including a new city stadium and “purple citadel” (the color of the A.C. Fiorentina professional soccer team) planned for an area north of the city center that extends over 60 hectares of land. At the time of this article’s preparation, the city was awaiting the Fiorentina President’s final decision. A positive result will allow for the lively and residential Campo di Marte neighborhood to be freed from pressures related to traffic and living discomfort, which are often increased by the sporting presence. Councilor Meucci is also committed to improving the itineraries of the hillier parts of Florence for exploration by foot. Cycle tourism is another point of improvement for the areas long the Arno River, which offer unexpected and stunning views. Titta Meucci is respected by her colleagues, who recognize her competencies and preparation. It is not by chance that Mayor Matteo Renzi selected her for an extremely important political role. Her days are filled with encounters, meetings, and direct contact with city residents who consider her a valid interlocutor. She has presided at over 1,000 direct encounters with Florentine residents. A second morning encounter at Palazzo Vecchio with Councilor Meucci gave the Blending staff the chance to meet Vice Mayor Stefania Saccardi, who greeted the team with enthusiasm and invited us to sit in on an appointment with a local entrepreneur and a city council meeting in the Sala de’ Dugento. The large room, dating to the year 1300, belongs to the oldest part of Palazzo Vecchio, and features a beautiful sunken panel ceiling, two marble entrances, and illustrated tapestries created by Renaissance artists. Every Monday, the city council meets here to represent the entirety of Florence’s political forces appointed through administrative elections.

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Within the council is the core committee (giunta comunale, which includes Councilor Meucci) represented by specially appointed councilors who collaborate with the Mayor to outline and enact the principal plans of the city council. The committee, during the Monday city council meetings, is seated next to the Mayor facing the entire body of councilors. Councilor Meucci is seated to the right of Mayor Renzi during the Blending staff visit and it just so happens to be that this morning, hers is the first order of the day to be presented. She aptly responds to a council member of the rival political party (PDL Popolo della Libertà) who asks about the proposed transformation of a building that once hosted a famous bookstore into a location of an important chain of stores specialized in gastronomic products and events (EATALY). The discussion immediately becomes fiery, especially due to the council member’s negative judgement of the assignment and approval of the restoration works planned for the space, which, in his opinion, do not seem to comply with the specifics of the original

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bid. Councilor Meucci answers deftly and precisely, with determination and preparation. When the discussion is concluded, she personally hands in a written report related to the matter. While the city council meetings in the Sala De’ Dugento are open to the public, meetings between members of the specially nominated committee in the Sala Degli Otto are not. The smaller room’s ceiling is beautifully inlaid with cherubs and ﬂeur de lys, and dates to the same era of the Sala De’ Dugento’s ceiling. This ﬁnal encounter for the Blending Staff was full of movement and activity, beginning with the council committee members who were laden with notes, documents, and proposals to share with the Mayor. Councilor Meucci never loses a moment to compare and discuss with her colleagues. The Mayor arrives, along with the time for the doors to close and for our team to conclude our job shadowing an individual who shared a glimpse into the life of those who dedicate their energies to politics and the local community.

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As the two ladies embark on preparations for their upcoming nuptials, they have garnered tremendous attention and overwhelming support for their union. Their story has become a media success through the blog leidissesi.net, where the couple recounts and relates the daily ups and downs of wedding preparation, and sustains the issue of gaining legal recognition in Italy for non-heterosexual marriages. Below, Ingrid reveals her thoughts on what it means to live an “invisible” lifestyle in Florence and tells about the unexpected response and support after “lei disse sì” – she said yes.

How did you propose to each other? It was late August, but we were not yet worried by the upcoming fall season. We ended up proposing to each other while we were cracking jokes. What’s a typical day like during the wedding planning process? There’s no day off. Whenever you would take a break for a day or two, your family will rush you to ﬁnish things! Can you tell us about your wedding location? The wedding outﬁts and ring? The menu? We chose a family-run catering that offers accommodations in a remote countryside village in Sweden, not so far from the area where part of my family comes from and where I spent my childhood and teenage summers. How have you styled your ceremony? The celebration after? We picked a special day to celebrate our wedding. June 21 is Midsummer in Sweden, which is also a national holiday. We’ll celebrate the sun and the summer on the longest day of the year. We are expecting to have the ceremony at around 2pm and keep going with dining and dancing until the next day!

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How did your families react to the news? How are they involved in the wedding planning? Lorenza’s family is one of our biggest supporters and is sharing all the stress and the happiness of this event. They are also contributing to the blog we made to tell the story of our wedding planning by creating videos and writing posts. My family has never accepted my homosexuality, and since my outing 15 years ago, I seldom heard from them. They’ve never met Lorenza and I suppose they got to know the news of my wedding through the internet. Where do you like to go to escape from the stress? Any romantic date locations in Florence to suggest to readers? There’s a little village called Garfagnana, located in Lucca, where Wi-Fi connection is not an option. It’s the perfect escape from your online presence. In Florence, places that offer a combination of quality food and informal atmosphere are the ones that make us happy.

How has the “leidissesi” blogging journey transformed you and what impact will the civil union have upon the future of your relationship? Besides our blog, we’ve been asked by the magazine D of Repubblica to manage a blog from the point of view of a modern family. The ﬁrst outcome of this journey was becoming bloggers. The future impact of this civil union relies on the next decision that our government will deliberate in terms of civil rights. Will you continue with your blog after you get married? If yes, how will it be adapted to your married life? The natural consequence of this blog will be a documentary that will deal with civil rights. We recently started a crowd funding campaign so everyone can support this project by donating through www.produzionidalbasso.com.

Let’s talk about your blogging adventure, leidissesi (shesaidyes). What have been some of the best discoveries and important moments of the journey? The biggest discovery was the huge and immediate interest that this personal story had raised in people. I’m not speciﬁcally talking about LGBTQ+ scene, as that was just a part of our audience. The way we talked about a joyful moment like a wedding planning affected many different targets. The community on and off line that has started to support us since the beginning of this blog makes this journey more powerful every day.

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Part of the magazine’s theme comes from the word “invisible.” What does it mean to be invisible in Florence for you? What are some examples of invisible places in Florence? Being invisible is dealing with neighbors and people that keep asking if Lorenza is my sister or my best friend. Doing this blog and being interviewed for TV and newspapers helped us to gain a recognition as a couple. Everyone is responsible for provoking and creating invisibility, and this is a reason that keeps us posting on our blog! What types of discrimination or incomprehension do you experience in Italy because of your sexuality? Our right to get married is not recognized here. According to the Italian legislation, we are nothing more than perfect strangers. What is the most common misconception in Italy about the LGBTQ+ community? LGBTQ+ individuals and couples are generally presented though stereotypes in this country. Politicians talking about same-sex marriages are able to debate the issue merely in an abstract way. We wanted to get involved in the ﬁrst person and we’d be more than happy if our case may help to be a reference from now on for future discussions about LGBTQ+ relationships. What has it been like to receive so much support from the Italian radio, television, magazines, the online community? It is always both amazing and a bit frightening when your personal story becomes the narrative of many others.

You recently spoke at a high school about LGBTQ+ issues. Can you share a few impressions on what it was like to interact with students? For a wider project that has been carried on by Ireos (Service Center for Queer Community - www.ireos.org) and the Municipality of Florence, we were invited to middle and high schools as a lesbian couple about to get married. We had to face the curiosities and perplexities of a young generation. This experience gave me confidence for the future of this country; it will get better. What specifics steps are you taking to make same-sex marriage legal in Italy? Once married in Sweden, we’ll come back to Italy to ask for the registration of our wedding certificate and for updating our marital status, as any other heterosexual couple would do. This registration will be denied and the issue will be brought in front of a judge. It’s a long process and it will require money and time, the result is often not granted. How can individuals contribute to the growing campaign for civil rights? Giving visibility to same-sex marriage will help people consider it as a civil rights issue that affects each of us as human beings.

Illustration by BRUNELLA BALDI

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Illustration by ALESSANDRA TOMBESI

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Vanni, you’re a writer, translator, and journalist. What’s a typical day like for you? In the past several years, books have become a totalizing activity, which is inevitable if you want to take the craft seriously. My typical day starts at 6am when I wake up and is spent alternating between working on a word processor and reading books by others. What brought you to the profession of writing? Halfway through 2004, I found an issue of Mostro at my university campus. It was a self-produced magazine created by folks who hung around an independently managed space called Elettropiù where I often went. I proposed a story and they responded with an invite to participate at an editorial meeting. It was a Friday night, inconceivable in those days, I was struck by how a group of individuals seriously dedicated their evenings to discussing their respective tests and reading classics in a way that was different from mine. It was, in fact, the writer’s approach. I began to regularly attend meetings and write stories and poetry in the attempt to reach their level, which was already near professional. Thus the famous spark was ignited, and within less than a year, I was able to publish various articles on Mostro, begin Personaggi precari, an online literary project, and write a novel titled Vasilij e la morte. The book had even won a contest for new writers, but the publisher behaved inappropriately and never published the winners. The episode further incited me; the lost publishing opportunity was searing and could be relieved only by releasing something else, at any cost. After numerous failed attempts, in 2007 a selection of Personaggi precari won first place for a contest involving texts adapted from the web and was released in bookstores. During the same year, given that the writing frenzy born out of Mostro showed no signs of slowing down, I began to collaborate with various literary blogs and newspapers. I also founded the “SIC - Scrittura Industriale Collettiva” with Gregorio Magini, and I completed yet another novel. Gli interessi in comune was picked up by Feltrinelli and gave me enough exposure to dedicate myself full time to being a writer. What images or associations come to mind when the words “invisible” and “Florence” are placed together? The phrase from Italo Calvino’s Invisible Cities, “Cities, like dreams, are made of desires and fears,” which is also the epigraph of my novel Se fossi fuoco arderei Firenze, comes to mind. Florence very much resembles an invisible city for its qualities– or, by now, flaws – that appear immutable, lapidary, and symbolically dense as its stones and marble. Immutable like the relics, tourists, students, ghosts, and wannabes that circle around its streets. What about when the words “imagine” and “visionary” are combined with Florence? Visionaries from centuries ago come to mind, since the city has significant difficulty in trying to imagine itself as something different and when seeking to have visions. San Miniato al Monte also comes to mind. It’s essential to observe Firenze from there, especially when one’s particularly receptive whether for natural or induced reasons, because it’s where the rationalizing mind is able to imagine anything and everything. San Miniato al Monte is the radius that generates Florence.

Photograph by DAVID WEISS

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You’ve written about all types of characters and places in Florence and Tuscany. Which have been the more silent and subtle, less resonating figures that have been the most interesting to reveal to readers? Recently, I became very fond of an article about Costa Scarpuccia, written for my weekly Sunday column on Florentine streets in Corriere Fiorentino. Out of the minor Tuscan characters that populate my books – whether written by myself or collectively – I’m fond of Imbe from Gli interessi in comune, the janitor from L’ascensione di Roberto Baggio, Annabel (who’s not so much a minor character considering that she’s 1/23 of the novel) from Se fossi fuoco arderei Firenze, and Restighi and Castelli from In territorio nemico. Do you write while traveling? How do the sensations and emotions of writing change away from home? I’m often in Stockholm for long periods. The approach, however, doesn’t change much, perhaps for the totalizing nature of writing. The environment clearly influences the final result, at times heavily, but it’s something I realize only afterwards while the approach remains unchanged. The books produced by Scrittura Industriale Collettiva, which you founded with Gregorio Magini, are written by groups small and large up to 100 authors. Looking back on the volumes that have been released up until now, what have been the greatest satisfaction and discoveries about collective writing for the involved authors? I’d say that the biggest satisfaction is, without a doubt, the release of In territorio nemico, which is the culminating and crowning point of the collective itself. The best is just about to start – after six years of developing the writing method, the book will finally confront itself with the readers. What advice would you give to young Italian and foreign writers in terms of taking inspiration and ideas from Florence? Florence is entirely a question of esthetics. I advise to wander by night, when the city is deserted and it’s possible to fully enjoy it. Your favorite invisible corner of the city? The intersection between Via del Campuccio and Via delle Caldaie, where Caffè Notte is located. Your latest book Se fossi fuoco arderei Firenze* was called an “unusual guide” and a “guide-novel” that describes another Florence. Title wordplay permitting, what would you envision arising as a Florence-phoenix from the city’s ashes? It’s difficult to say, I used to repeat often that I’d like to demolish the entire Por Santa Maria area and substitute it with some sort of transparent absurdity born out of the mind of a megalomaniac architect. Then one day an architect friend (and member of the Collettivomensa magazine) explained to me that this operation would bring down the Duomo and thus I felt torn. Given how things are going these days I’m afraid that in the absence of the Duomo the flagship store of some luxury brand will be erected in its place.

*The title translates to “If I were ﬁre I would burn Florence” and is inspired by the lines of 14th century Sienese poet Cecco Angiolieri who wrote, “If I were ﬁre I would burn the world.”

Photo Courtesy of VANNI SANTONI

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Five days before my plane took off for Florence, I received an email: my housing assignment had been suddenly changed. For about a month I had been preparing myself to live in the very center of the city on Via dei Servi, with the Duomo staring at me right in the face. Instead, I was being relocated to the Oltrarno (the “other” side of the river), a full 30-minute walk from some of the campuses where my courses were located. Having grown up in the bustling city of New York, I was somewhat concerned that I was being separated from the action and excitement of the city center. I soon discovered that my new location would become one of the highlights of my experience. Still in my anxiety mode at home, I got some advice from a family friend who had lived in Florence for a number of years. She assured me that I would love my new neighborhood. I could buy local produce at some of the cheapest outdoor markets in the city, hear more people speaking Italian than English during my commute to class, and actually get some sleep in a quieter neighborhood with a residential feel to it.

Naturally, I often traded stories with my classmates and new friends about our living situations. They would usually balk at the idea of having to walk 30 minutes to class on Monday mornings, but I was quick to defend my new neighborhood: my spacious apartment came with a large garden and patio, and restaurants and bars were catered more towards locals than tourists. My neighborhood was “authentically” Italian. Again, I was somewhat mistaken. The Oltrarno is a fantastic neighborhood, yet it’s technically within the city center. I recommend it to anyone tired of wading through crowds of tourists, craving a great restaurant experience, or looking for some locally brewed beer and Florentines watching a football game (check out Archea Brewery on Via dei Serragli). Sure, it feels more “Italian” than the Piazza del Duomo, but if you want to see what life in Florence is really like for most of its citizens, you’ll have to buy a bus ticket and leave the centro storico (historic center) behind.

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Take the first week that I had my first experience as a teaching assistant in an Italian elementary school as a part of a Service Learning project at FUA, for example. We hopped on the tram outside of the Santa Maria Novella train station for a 30-minute commute. Upon arrival at our destination, I noticed that the area was completely free of tourists. There were no monuments to gaze up at, no street vendors trying to sell trinkets. Suddenly, I felt as if the city was no longer putting on a show or marketing itself as a tourist attraction. In fact, once I stepped into the Eduardo de Filippo school on Via dei Bassi in the Isolotto neighborhood, I felt like my two fellow volunteers and I were the center of attention. Children running down the hallways would stare and whisper about us, and a brave few would start a conversation. Many of them first greeted us in Italian, then gave an enthusiastic “Hello!” once they realized we were American. I have volunteered in many elementary schools back home, but never before had I seen such raw excitement from students. With a limit-

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ed English vocabulary, they were all eager to show their skills and make a connection: “I like pizza! Do you like pizza?” This excitement at the unfamiliar did not come exclusively from the kids. From the classroom teachers to people on the street, everyone was pleasantly surprised to see us in their neighborhood and quickly asked where we were from. The few hours I spent outside of the city center that day represented what I had expected when I first moved to Florence: speaking Italian with locals, sharing life experiences, and trying to immerse myself in a new culture. Now that tourist season is kicking into gear, my weekly trip is a refreshing change. After three months of living in Florence, my biggest recommendation to anyone studying abroad is to break out of your comfort zone and spend some time with locals. Sign up for the Italian Family program, do community service, or find a Chat Pal through the Student Life and Development Office. Most importantly, don’t be afraid to go outside of the city limits, use some Italian, and see what you find!

The Italian Family Club at FUA has been re-thinking the concept of the family nucleus by matching international students with Florentine families. This opportunity allows students to build a relationship that will develop over the semester through a series of exchanges and interactions, including being present at family dinners, attending soccer games, and going to the supermarket together. The affection, the empathy and the emotions shared by the students and families become a special memory to cherish and foster upon leaving Italy. And the families become more international with a reference point abroad – the “adopted” students will depart knowing that someone in Florence will be ready to welcome them back once they decide to visit Italy again. We’ve collected impressions from these newly forged and enlarged families from the Spring 2013 semester. “When I was offered the opportunity to coordinate the Italian Family Club project 4 years ago, I happily accepted without hesitation. Since then, I have interviewed many students, and communicated with families, and contributed to creating mini-worlds made up of differences and similarities that are stll surviving now despite the distance. Every time I remember the uneasiness of the ﬁrst encounter, and to see how students, children, and parents interact over the months, it makes me more and more convinced that we must keep this project going for the future.”

- FRANCESCA TASSINARI, Project Coordinator

I had heard of Family Club through a friend who had studied abroad last semester, and although I had some knowledge of the program, it was a pleasant surprise when I learned more. I wanted to get the full immersion of the Italian culture because I am really interested in the lifestyle of locals. I expected a language barrier but despite our difﬁculty communicating, we bonded over our love of food and travel. I wanted to expand my global view because when living in your home country, you have one outlook of your whole life. I am interested to see what my outlook will be after this experience.

I wanted to get a different perspective of the average Italian family’s lifestyle and see how it is different from a Latino household, like my own. I am taking beginner Italian courses at FUA and expected the family to speak enough English so that I could communicate with them. Although the mother speaks English, the father does not at all. If the mother is not there, I speak a mix of Spanish, Italian, and English to try to communicate with him. I bond with the children over our love for soccer. We play in their little backyard. It’s like I’m their big brother, and although I’m not a typically family-oriented person, I love spending time with the family. I know I am going to learn more about myself from this experience. ERIC LARA

As a political science major interested in international relations, I wanted to discuss Italian politics with Italians. I follow Italian politics at home and wanted to learn more about the culture while studying abroad. I am really happy with my family. They live outside of the city center and it is enjoyable to leave the city and experience a small town feel. Through this program, I have received a different perspective of the Italian culture and what it means to be Italian other than by being a student in Florence. PATRICK KEYSER

EMILY APPLEGATE

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The night I met my Italian family, I was visibly ecstatic. I wanted the cultural aspect of living in Italy to have the greatest impact on my study abroad experience. To actually be with a family was the perfect opportunity to have our cultures mix. My family lives outside of the center and, consequentially, I had to take public transportation, something that I normally wouldn’t do. It gets you out of your comfort zone when you don’t know where you’re going. I am so happy with my family and have already learned so much from this experience both about myself and about the Italian culture. I love to spend time with the parents and I have been teaching the children English by reading books to them. I learn more Italian with them than I do in school. From this experience, I expect a broader horizon, more cultural awareness, and an understanding of difference and the ability to embrace those differences. MCKENZIE GENIN

I got involved with Family Club because I work at FUA and I know Francesca Tassinari, the coordinator. Francesca asked if my family was interested in engaging foreign students in the Italian culture and learning about cultures abroad through fruitful exchanges. I thought it would be a good opportunity to help my son and nephews with English. It is interesting to meet students from abroad and, we are curious to see who they are, why they are here, and where they come from. I have participated in Family Club for the last four years and, we have had some beautiful experiences.

As an Italian language teacher, I wanted to meet new people of different cultures. I was also interested in helping my 9-yearold daughter learn English. I wanted my daughter to understand that the world is larger than just Florence and to step out of her comfort zone. It is important for her to understand that every single person needs to be respected, no matter where he/she comes from, no matter the color, the origin, the culture. Since she does not speak English ﬂuently, she speaks with the English-speaking students mainly through non-verbal interaction. I enjoy cooking and taking small day trips with our adopted students. This is my third Italian Family Club experience, and it has always been great.

GIUSEPPE VITO GIULIA FEDERICI

LUCA PEDOCCHI

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I wanted to give my children the opportunity to speak English. My family and I have taken our Family Club student to San Gimignano and Fiesole. We have met at home several times and have taught our adopted daughter the Italian culinary tradition. We have talked a lot about the habits in our respective countries. When we meet people who are outside of the family or our usual circle of friends, it is always positive because we can interact with different cultures. We have the opportunity to discover things that otherwise we would never have known. This experience will surely leave us with beautiful memories.

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First off, what is it like to be a theater director? Can you explain a typical day at work? In order to fully convey my role, I should immediately establish that my typical day at work does not have a timetable. I usually wake up very early in order to dedicate at least two hours to my creative side in a peaceful setting before facing the work mode that lasts until late evening. It’s common for our staff and myself to work late nights when the theater is hosting a performance. Let’s say that we never get bored around here. You divide your time between Florence and Rome for work. What are your commitments in Rome? I also live in Rome, where I maintain contacts and network with theaters as well as work with the production side of performances. I travel quite a bit so I can see shows that could be interesting to schedule at Florida. It’s very important in our world to establish and maintain public relations.

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How did you get your start? I started almost by chance. I’ve always felt a strong passion towards theater, but more from a spectator’s perspective. In the early ‘90s, I completed my university studies and had the chance to carry out my civil service duties in my city of birth, located in the Marche region. To my great joy, I was assigned to the Cultural Department of the city municipality, and suddenly found myself involved in the logistics and hospitality necessary to host the artists and theater companies invited to our local summer festival. A few months later, I began to work with AMAT (Associazione Marchigiana Attività Teatrali), a theater circuit from the Marche, and my professional adventure had begun. What are some past theater experiences that have been especially important in preparing you for your current role at Florida? Theater production experiences, without a doubt. The director’s ﬁgure must be doubly tied to the creation and the sustainability of theater projects and performances. Our function is to intercept the public’s tastes and to give an incentive to its interests. This can be done by practicing and being involved in theater from a 360° perspective.

Florida has put on many successful shows ranging from those that international audiences recognize and lesser-known, niche performances. What show has been your favorite to direct and why? It would be limiting to my “emotional range” if I were to nominate a single production as my favorite. I’m very fond of my first Florentine season. I’ve sought to offer a panorama of the city’s culture, featuring “other” or different possibilities, and I sincerely hope that my goal has been carried out. The strongest emotions can be felt when I see spectators leaving the theater after having discovered something new. In our environment, we live first and foremost to experience this joy. It’s a joy that gives meaning to our work. Who are the invisible figures and what are some aspects within the theater world that the public should know about? I would definitely bring to light the reoccurring misconception that the theater is professionally inconsistent. It’s important to consider that theater and live performance constitute a veritable production chain made up of professionals who each have an important managerial or creative function.

Florida is becoming an important reference for contemporary theater in Florence, a city known for its ancient past. What position do you hope that Florida will occupy within the city? I hope that Florida will continue to offer an occasion, a chance to discover and not just simply recognize art. We want to concretize our project development by increasingly linking it to contemporary issues. All of this contributes to the great tradition of culture in a city like Florence. Florida is located outside of the city center, away from visiting tourists. The building itself is a hidden gem as wellit seems to represent the spirit of Florida with its walls half from the 1500’s, half rebuilt. It is a church that was transformed into a 1950’s cinema, with the convent just next door. What can you share about the building’s legacy? Our location is absolutely unique, but it’s not enough to have a great “container.” Good content is necessary to continue and we are seeking to go in this direction.

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You’ve been known to say that a theater should be like a church, where people congregate. Tell us what types of sharing and coming together can happen at the theater. I refer to the sharing of hearts and minds. Going to the theater means choosing to go, ﬁrst of all, and to meet people. Words and thoughts are also shared at the theater, concepts that one may agree with or not. The beauty of this sharing is that you can freely encounter it. Perhaps you’ll walk away with a different thought or opinion, or you may disagree with the spectator next to you. But ultimately, something’s happened that you’ve chosen to make happen in your existence. This only happens at the theater.

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We noticed that the 2013 spring program is full of international initiatives, such as Russian and Armenian companies as well as Fabbrica Europa in collaboration with other Italian theaters. How would Florida like to embrace the international community? We uphold the idea that live performances can break down linguistic barriers. We often feel intimidated by the idea of viewing a foreign language performance. However, the empathy towards what happens on the stage can arrive through other channels of communication. Our intent is to engage the international public as much as possible with these ideas.

What are the hidden parts of the city that you love most? I very much like to discover the hidden parts and glimpses of the city that are lesser known and unexplored by tourism. I often observe Florence from afar, from the hills. The city is one of a kind. It’s impossible to not fall in love with it. What do you hope for the future of Florentine theater? And for the city itself? Florence represents the best of Italy to the entire world. It represents the glory of life lived. I hope that our present will be seen in the same way, thanks to the creativity that’s a part of the Italian DNA. We must continue our representation of excellence, such as this city. Such as the historic or contemporary artists of Italy. Such as our theaters.

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P E R F O R M I N G A RT S

How do you deﬁne your genre, your backgrounds, and how did you ﬁnd each other? I already knew Marco, we’d seen each other in various circles. He was an acquaintance of Michele and it was purely a matter of bringing each other together in a common circumstance. The group was born and we got along immediately. It’s a great pleasure to work together on this music project. A few of us have upcoming plans to go abroad but our intention is to continue collaborating in other places. As for our backgrounds, Marco and Michele come from classical training. I went through six years of classical training, and then moved on to other sources of inspiration and learning. I see the formation of this group as an evolution or continuity of my previous experiences, given that I’ve always played this type of music with other groups as well. Our music comes from diverse sources (Editor’s Note: see intro). There’s a good mix of cultures and styles.

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What is your relationship with the city of Florence? What’s the emotion of performing in this city? We’re all from here or near here. Michele and Marco are Florentine, I’m from Pistoia. Playing in Florence means playing from our home base, playing at shows and performances where we know the faces and places. Of course it’s great to play away from here to discover new people and places throughout the world. In terms of faraway places, first and foremost we’re a new group that was formed in January 2013. We recently completed our first album and have intensified our performances, especially street performances. Playing on the streets is something I’ve been doing for a long time, the others too. It’s a common element that deeply involves all band members. You often play in public squares.Any less visible spaces that you are particularly fond of? Unfortunately we’re not able to easily choose where we can play. Like all cities there are specific permits to play outdoors and they are valid for precise hours and locations throughout town. As you can see, our current permit allows us to play here, in Piazza Santa Croce. So yes, it’s definitely a pleasure to go to smaller towns where permits aren’t necessary, where we can play when and where we want. It may be risky but it’s spontaneous, there’s a more beautiful and direct interaction.

P E R F O R M I N G A RT S

What’s invisible in the city that should be brought more to the surface? I can speak for the world of music. For example, it would be a dream to have more accessible streets, in addition to squares, where performances and musicians can play more liberally without being tied down to certain bureaucracies. Our current Piazza Santa Croce permit is valid for ten days. You can request a month-long permit to divide up into 10-day groups, and it’s not easy to obtain one in the first place. Tell us about your new CD. Given the group’s predilection for playing on the streets and in the open, what was unique about recording within a confined space? If anything, the difference between playing indoors for recording purposes was suffocating! It was a period of long hours and constant work indoors, as the entire recording was done at my home. As soon as we finished, we leaped towards the outside world. We couldn’t stand being cooped up inside! Future steps? Continue to perform as much as possible, whether on the streets or at festivals. We want to play at European festivals this summer.

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The Duomo. Santa Croce. The Ponte Vecchio. Gusta Pizza. For temporary students in Florence, these popular spots are most likely common knowledge. They’ve been written down on lists by former students, passed on through word of mouth by fellow classmates and included in most tour books. While these sights, places and activities in Florence are without a doubt deserving of all praise and popularity, are there unique features of the city being overlooked by visitors? According to FUA professor and musician Pietro Billi, the concealed, hidden, somewhat invisible features of Florence are also the most worthwhile to seek out. Being a local that grew up in Southern Florence, Pietro points out that the city of art boasts unparalleled natural beauty that is reflected in the city’s music. “As a student, I studied abroad in Vienna and Spain in order to acquire Europe’s musical taste,” noted Pietro. “While each city is beautiful and meaningful in it’s own way, each time I returned to Florence I had a new appreciation for the city and continue to develop it.” In Pietro’s opinion, some of the best aspects of the city are not in the most talked about museums but in the architecture and natural landscapes of Florence. “It’s a city that has a distinctive balance between Renaissance and Gothic art,” reflected Pietro. “Even just walking down secondary streets near the Duomo, I am constantly able to look at things as simple as buildings under a new light and discover peculiar designs and colors.” It is this allure that continues to develop Europe as a musical focal point. Pietro studied both Political Science, Law and Economy at the University of Florence as well as Piano and Conducting at Florence’s conservatory. Now, he conducts on a variety of different occasions throughout Europe and Miami with Palm Beach Symphony and Orchestra. “Opera was born here and I’ve been able to express the beauty of this city through my music,” reflected Pietro. The music that is so characteristic of Florence, is an expression of the beauty. Beyond Florence’s opera house, which despite suffering unfortunate financial obstacles still shows sensational operas, the city holds the oldest music festival in Italy. Maggio Musicale Fiorentino is held in May each year and shows numerous orchestras, choirs and conductors; according to Pietro, it is one of the most extraordinary events that the city has to offer for everyone from musicians to regular tourists. On the whole, it is representative of the musical significance sometimes unnoticed, or invisible to visitors in Florence. As a final piece of advice, Pietro encourages visitors and students to breath in the beauty of Florence’s art, whether it be in most popular sights, or the more subdued Florentine sounds.

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V I S UA L A RT S

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V I S UA L A RT S

What’s a typical day in the life of an artist in residence? I usually drink a lot of coffee as soon as I wake up, and then, when I feel sufficiently on the verge of a heart attack, I sit in my studio and stare at things for a while. It’s been raining quite a bit since I got here which helps me focus in the studio because I’m not constantly tempted to go outside. You’re a resident artist and a current resident in Florence. Tell us about this duality of residencies. Five months is a sufficient amount of time for me to feel like I actually live here, and that’s an experience I’m extremely fortunate to have – the opportunity to live in another country for a while. I’ve made a lot of friends here and many of them seem genuinely interested in what I’m working on during my residency. Plus, telling people I’m an artist in residence sounds very fancy and cultured, so that’s always nice. Your last name, Mistretta, has an Italian ring to it. What are your ties to the culture? My great grandparents came from Sicily and Abruzzo. There’s actually a town in Sicily called Mistretta. How, as an artist, do you concentrate? Where do you get your ideas from? Usually, I can’t concentrate. I’m very easily distracted, especially when there are three bakeries on my street. But it all works out, because when I’m walking around, I get ideas. Very random things serve as inspiration for me. A mattress in the garbage, a misspelling of a word on a sign, someone screaming about something. I’m usually the most inspired by subtle instances of absurdity that you see all the time if you’re looking for them. Is there a specific work space or environment you like to work in? I.e. desk, outside? With or without music? I really like my studio here. It’s obviously a very unique space since all of the walls are glass. It feels like I’m some kind of exotic animal whose behavior is being studied. But I enjoy it, and you can’t beat natural light. I usually have a TV show playing on my laptop in the background while I work.

What are your favorite type of mediums and materials you like to work with? I’m always attracted to found objects. Usually old ones that are beat up and have some character. I love different kinds of fabrics, with textures and prints, and using those to make paintings. The way certain materials react to each other is also very appealing to me. I made a few pieces here in which I briefly lit the painting on fire, and you get this wonderful, charred effect that is very beautiful and traumatic at the same time. As a result of your academic involvement as a faculty member at FUA, how do you hope that your students will grow? Develop creatively? All of my students have displayed a genuine enthusiasm for pursuing some kind of life in the art world. It’s very exciting to see, and I’ve tried to show them a lot of newer work that is maybe a bit weirder than what they’re used to. They’re all very smart. What is the main message of your solo exhibition? When I was younger, my grandparents had a beautiful apartment in Florida. I used to go every summer with my family. It was surrounded by palm trees with a huge pool right outside the back door. It was one of my favorite places to be. After my grandparents passed away, everyone stopped going there, and it was left unused for a long time. After a few years, we decided to sell it and hired a real estate agent to take care of the sale. On the day she showed up to view the property, she entered my grandparents’ bedroom to find a huge hole had been torn directly through the mattress of the bed. She leaned over to investigate and inside the hole was crawling a family of shiny, black rats. They had burrowed into my grandparents bed and made a comfortable little home for themselves. What hidden and invisible places do you seek out in Florence? I’ve been trying to find somewhere that sells Ziploc bags, but no luck yet. How would you depict the Florence of tomorrow? I’m curious to know how long you can keep Starbucks out of here.

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For the ﬁrst half of the school semester, these three ladies spent countless hours in the ceramics studio creating experimental and abstract ceramic pieces to be used in F(LIGHT). The show, displayed in a unique and intimate venue at FLY, the fashion store located at FUA’s fashion school FAST, proved to be vastly different from the everyday gallery space where art enthusiasts usually ﬁnd themselves in. It was featured in a small side room only 4ft. tall in the loft area above the tailoring lab at FAST. Though the space was microscopic, it proved to be perfect for the needs of the exhibition. The goal of the show was to create a captivating interaction between ceramic forms and light. DeBlassie, Genin and Watt opened on April 8 after a lengthy setup. Despite the show’s tiny size, the work turned out as anticipated and received positive feedback. The light interacted with the ceramic pieces in a way that casted a myriad of intermingling shadows upon the walls of the miniscule venue. Each piece created its own shadow and complemented nearby or overlapping shadows. The environment produced by the three artists was that of a serene and calming one. The small exhibit space allowed the light and shadows to almost directly interact with the viewer and make the viewer feel cozy without being oppressed by the lack of a freely open space. Overall, the show was a success and a helpful learning experience for newcomers in the art world – Genin and Watt – who were thankful to have the opportunity to share their work with the public and to work closely with FUA professor and F_AIR resident artist, Victoria DeBlassie.

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When asked about her reactions and overall feedback to the work achieved, DeBlassie comments: “I feel very fortunate to have two of the most hardworking students in my class! They were both incredibly enthusiastic about having the show because in the past, they have been in art shows, but they have never had the opportunity to set up a show themselves from start to ﬁnish. Collaborating with them on a special project was really inspiring because we were able to be simultaneously thought-out and spontaneous with our display of the works in order to create the most interesting visual result.” Upon the conclusion of the exhibition, the artworks were selected to participate at the Mostra dell’Artigianato, where FUA presented a Tavola delle Meraviglie, from April 20 to 28. The ceramic works acted as centerpieces for the “Table of the Wonders,” which also included edible tableware created by the Apicius Baking & Pastry Department and specialty design chairs provided by the renowned Florentine company FLAIR. About the coordinating artist: Victoria DeBlassie is currently in Italy as a Fulbright scholar and is conducting a part of her research at FUA. She is working with the Polo Tecnologico Conciario in Castelfranco di Sotto, near Santa Croce sull’Arno. The project studies the time-honored Italian process of vegetable tanning leather in order to apply these processes to DeBlassie’s orange peel tapestries to create a new form of leather.

by Alexis Hannah

Lisa Batacchi con Simone Rebora.

Fosca, Maria Di Santâ&#x20AC;&#x2122;Elena, Una relazione tra moda, storia e performance, 2012.

(Photo Courtesy of Lisa Batacchi)

(Photo Courtesy of Claudia Querci)

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Hillary Nelson Zell

Gabrielle Preziose

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Gabrielle Preziose

Tess Bannon

Jessica Lebovitz

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Nicholas Kai Gilroy

Kristen Ganci

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Alexandra Hiner-Diana

Jessica Sommer

Linda Hoang

Emily Catherine Swaine

Linda Hoang

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What is a typical workday at Europe’s largest marine park? My workday begins in the ofﬁce at a spectacularly beautiful location with breathtaking panoramas that motivate me each morning to work in the defense of nature. Each day presents a double mission. On one hand we seek to conserve the park’s integrity with the compliance of local residents. The park is comprised of both sea and land, it is cement free, and has an intact biodiversity. On the other hand, we have to tell the story of our islands and attract visitors who can appreciate their beauty and keep active their economy by vacationing here. For some of us, our job is to defend the territory through site visits and inspections. For others, duties involve travel throughout the seven islands to study and monitor animal and plant species that need protecting, or spreading the message of environmental education and the park organization’s positive image, or working on the accounting or legal issues. Our entire team however works in the name of the same mission.

What does the archipelago represent to Tuscany? To the national Italian panorama? It is an important legacy of biodiversity and nature that must be defended. It is an international attraction for both tourists and explorers seeking open air, sea, and trails. The majority of the park area is classified as a place to safeguard by the European Union, especially for the habitat program that protects marine bird species. Some of the islands are without a doubt some of the best examples of hidden treasures in Tuscany. Are there particular profiles of visitors who seek out the more protected islands? The islands are environmentally delicate and not suitable for the more raucous, sea and sand types of vacationing. Our visitors tend to be lovers of silent trails in search of nature sightings such as marine birds, the sunset’s colors and the crystalline sea, landscapes to photograph. They are willing to go for kilometers with just a sandwich to eat to finish a trail or to reach the sea cliff of an unknown corner. And they appreciate the meaning of protected areas. What are some of your favorite fauna

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and wildlife? Your favorite geographic points of the islands? Out of the plant fauna I love the perfumed Mediterranean shrub land, which is full of intense colors and species such as wild rosemary (Rosmarinus officinalis) and lavender (Lavandula stoechas), and found on sea cliffs and abandoned fields. I also appreciate the more hardy species surviving harsher conditions such as the curry plant (Helichrysum litoreum) and juniper (Juniperus communis, J. oxycedrus and J. phoenicea), or very specialized examples such as rock samphire (Crithmum maritimum) and Silver Ragwort (Senecio cineraria). Not to mention orchids, little know that around 40 of the 100 Italian species are from the archipelago. And recently, completely new species have been registered at Elba. From an animal perspective, I’m fascinated by the marine birds that populate our sea cliffs. Our coasts are varied, from drop-down cliffs to bushy reefs, sandy dunes, and rocky pinnacles that emerge from the sea, and the diversity fosters the rare species that need special ecological conditions to survive. Every season holds in store surprises for binocular observing of the coasts. Towards winter’s end when storms make foamy waves, open sea bird species such as the Manx Shearwater (Puffinus puffinus), Cory’s Shearwater (Calonectris diomedea), Great Coromant (Phalacrocorax carbo), and the European Shag (Phalacrocorax aristotelis) can be seen. Seeing these creatures dive into the water and glide just beneath the surface is a common yet spectacular sight. The Audouin Gull (Larus audouinii), the park’s symbol, is the most rare gull species in the world, and is found here as a nucleus of nesting couples that is strategically important for the species’ protection worldwide. Slighter smaller as a species, it is easily recognized by a coral red beak with a dark tip and light olive green feet. Some of our scientific projects have had the objective of increasing their chance of survival. It’s hard to choose from the geographical points of the island. I’d say the clear waters of Pianosa, the Belvedere of Montecristo, the Zenobito point at Capraia, and the view from the town of Marciana at Elba. The Pisan tower as well, perched above the sea at Gorgona. These places are magical and generate emotion, especially at certain hours of the day.

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Can you share some interesting details about the town life that is abundant on some islands? Being an islander means having a unique perception of the world and seeing the horizon differently compared to others. It’s as if rules counted less and it’s harder to accept encounters with the outside world. Islanders feel that their island is the center of the world. I wasn’t born an islander and notice this different perception. Human relationships are very close, you don’t feel like a number, it’s easy to feel useful in your community. Kids are freer and get around without parents starting from age 8-9 because the streets are safe and we all know each other. This would be impossible in cities. My nephew is from the mainland and when he visits he turns into another child that goes out by himself, plays in the open air, makes friends, and forgets the TV.

Why did you decide to work for this national park? What influences as a child or young adult inspired you to seek this type of job? By chance, around 15 years ago. I’ve always been fascinated by the sea and it would be difficult for me to leave the islands to go back mainland where I was born. Seeing the sea every morning has become almost a need. This is a job that any nature lover would be happy with. Do you have colleagues who conduct scientific research or experiments as a part of their daily job? If so, what type? Many park activities have a scientific background. Research involves species preservation and the elimination of foreign and invasive ones. We also monitored via satellite hydrocarbon spills in the waters.

One of the greatest dangers to park reservation is the increased presence of man in delicate ecosystems. Is it difﬁcult to balance the need to protect with the desire to increase the islands’ visibility within the panorama of tourism? As mentioned before, this is our very challenge. The park imposes rules to safeguard delicate ecosystems. Yet the more protected the islands are, the more people are attracted to visit. Montecristo and Pianosa are the most prohibited yet desirable destinations. The solution is to protect, provide safeguarding regulations, and illustrate their importance. Tourism that is distributed over the summer or autumn periods de-congests the summer high season. It’s important to promote the islands for their culture, cuisine, and excursions beyond the summer vacation. An example of this effort is the Walking Festival: www.tuscanywalkingfestival.it. What are some important plans for the future of the archipelago? To create a protected marine area, given that currently we’re only a park with competencies regarding sea areas that are either accessible or prohibited. A marine area would mean reestablishing different visiting quotas and degrees of protection in utility-based areas as well as new access rules in collaboration with local organizations. This will allow a more varied interaction with the sea that respects regulations and the possibility of quota-approved swimming in formerly prohibited areas. How do you work with local and national governing bodies to protect the environment and the future of the archipelago? The park has a consulting organ composed of local organizations, cities, and provinces in Tuscany. It meets periodically to share and decide strategic choices for the territory. We also communicate daily with the single cities of the archipelago with whom we must share administrative procedures regarding residents. How are park rangers and guides trained? Can you provide a comment on this particular role? They’re fundamental but diverse roles. Forest rangers are a military body of control that functionally depend on the park and they help us in keeping rules respected. They are trained outside of the park through the program established by the Ministry of Agriculture. Guides on the other hand accompany visitors and explain the park. They are required to attend a course offered by the Tuscan region. It lasts for 600 hours, and guides furthermore attend special seminars offered by the park in order to further specialize the knowledge of the islands.

The islands are a part of the Tuscan region, how do you interface with the capital of Florence? Can you share your vision of the future of Florence, a hope for the city? We are in good relations with Florence. The entire region of Tuscany is very aware of our environment and problematic issues, even if the park organization is supervised by the national environment ministry in Rome. I fear that the present crisis in Italy may cause budget cuts for the areas regarding culture. I hope that Florence feels less the weight of this situation and continues to offer its extraordinary cultural and historic riches to the world. Every singe time I go to Florence I feel ecstatic.

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For the outsider looking in, this doesn’t seem abnormal or odd in any way. But for the Florentine who calls Florence his or her home – it can be a nuisance. How does an individual become invisible in one’s own city? How can that possibly be, when you have developed friendships and made acquaintances with the locals over the past few months? It is the incessant question that I have found to be difficult to answer. Unfortunately, I am determined to fi nd the answer, how I have gone from a tourist – to a student and resident – to a tourist once more. After the initial weeks living in Florence, I found those who stood outside restaurants and shops in areas populated by tourists, seemed to recognize me. Thus, I no longer had to deal with those same individuals attempting to push me inside and sit for a meal or badger me about buying some trinket. For the past two and a half months, I have greatly enjoyed these little details of my day. Practicing my Italian had become easier, and keeping my head held high with a smile was something I found myself doing more of. However, with the start of the spring season a few weeks ago, it seemed all of that had changed. As I made my way to the Duomo from the train station, I noticed several horse-drawn carriages, new seating for restaurants, and the increase in tourists. Despite my irritation with the crowds I had to push through in order to make my way across the piazza, I was happy to be home. With that being said, I was eager to see the people I pass daily on my way to and from class. Unfortunately, those same individuals greeted me as I had been greeted many months ago – “Ciao! Would you like to come in and see our menu?” After I was settled in, I kept wondering how this could have happened? How could they have mistaken me for a tourist again when I’ve been living here for the past few months? I assumed they would greet me as they had been for several weeks now – as a local. I thought I earned their respect and for me, I began to feel like a local myself – not a cookie cutter tourist who has no idea what street they are on or where they are going. I went from feeling as though I fit in, to being looked at as a tourist. I am yet again invisible to many of them. I didn’t try too hard to make myself known as a residential student, I simply believed the working locals that I encountered daily in Florence would understand my

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place in this Italian city. The fact is that the tourist season is at a high right now; I have simply become the invisible tourist. They see me as a foreigner because I truthfully look like one. Of course I am not angry with the locals, but rather with the tourists. Does that make me a hypocrite? Technically, I am still considered a tourist to many Florentines, but do I feel like a tourist? After thinking about the answer to my previous question, this simple one has arisen: Do I consider myself to be a tourist? The answer, however, is not as simple as I would have hoped. Since there are many different definitions of a tourist – for there are several types – I am trying to figure out which one I am. It somewhat pains me to consider myself a tourist in a city that I now call my home. Although, it would seem rather unfair to call myself a permanent resident since I leave in about a month. I have been forced to be invisible and that’s what gets to me the most. The fact that I have practiced speaking in Italian so as to better deter myself away from becoming the “anonymous foreigner” hasn’t been easy. Still, I started to consider myself a local who called Florence her home. Though, I still do call Florence my home and speak Italian to the locals the best I can, at times I feel unknown, nameless, and invisible in the city that surrounds me. While on the other side of the Arno about a week ago, I realized that I am still a familiar face to the elderly man who owns my favorite enoteca. The staff working at my favorite pizzeria greeted me as they always have. The people I see while on my usual running route now smile out of recognition as I run or walk by them. I find the closer you are to the tourists, the more likely you are to blend in. Yet, if you manage to venture outside of comfort zones, you’ll find outself accepted and known to a city that you’ve called your temporary home. In the end, you need to follow wherever your heart leads. Mine has taken me to the other side of the Arno where I continued to explore. No matter what the neighborhood may be, I find that if you purposely remove yourself from the crowds and the familiarity that has become “your Florence,” you might actually find what you were brought here for. To find oneself is the best adventure of them all, especially when you aren’t even looking for it.

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Aqua Flor is a laboratory and store located on the ground ﬂoor of an ancient, Renaissance palace. How did you choose this peculiar location, which bears the names of the Serristori, Corsini, and Antinori families? An important peculiarity of Flor is the absence of a store sign that screams modernity. We refuse to have a website, and this is a choice that has nothing to do with neither snobbery nor ignoring the market. Instead of talking about ourselves we’d like for others to talk about us. Everything today has become so obvious and declared that we’ve decided to recreate the idea of discovery for our clients and visitors who come from out of town. It’s incredibly fascinating that spaces like these can still exist today. The exact name of the palace is Palazzo Serristori-Corsini-Antinori. It look me 20 years to ﬁnd it and believe me, it wasn’t easy. Until two years ago the Marchesa resided here and it was thanks to her open attitude that we were able to smoothly transition into our current activity.

Thus the architecture and history of the building itself has an important impact on your daily operations. The building, with its low lights and profound shadows, allows us Florentines and Tuscans to rediscover our past in an immediately palpable way without pretense or deceit. We place ourselves within this context and we respect it, even in the way we plan the play of shadows within the space: the lighting shouldn’t be too strong, no element should seem out of place, a general harmony must be achieved. In fact, we haven’t reconstructed the style of the original building. All remains as it was in the past in order to give value to our interaction with tradition. If we wish to use natural fragrances, then our perfumes must be taken back to their origins, through an artistic form, and our clients should perceive the fragrance through the overall context as well. The Renaissance architecture, ceilings, and geometries in this palace are a continuous source of inspiration. The Renaissance was an important moment in which man sought to look beyond borders and within himself, to discover new horizons and to partake in the world by occupying spaces. Renaissance architecture was conceived in order to feel well and is not purely esthetic but rather about corresponding spaces and cosmic harmony. I’m constantly stimulated by the contact with this historical period; it produces within me a sense of well-being that is impossible to feel in other, more anonymous places.

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How has the use of perfume changed over time? One of its original uses was surely rooted in the spiritual realm. The word itself comes from the Latin combination of “pro” and “fùmus,” thus the original meaning is “smoke that expands.” The term referred to the ancient religious practice of burning incense or wood in order to connect man to divinity. By the 1200s and 1300s, as well as during the subsequent revival of alchemy during the Renaissance, perfumes acquired a therapeutic value and became a part of the pharmaceutical world through concoctions such as vegetable-based alchemy and the search for life-lengthening elixirs. Can you tell us about the guidance and direction practiced in your client relations? Perfumes today are primarily used for esthetic reasons, but their use is also important in the field of aromatherapy as seen in products such as essential oils or those used in spiritual environments. This is evident especially in Middle Eastern or Asian countries. I personally prefer to stay away from distinctions. Perfume making is a unique art form. Consider train or air travel, it is always the client who decides what class to travel in. In our case, there may be clients who are driven by a spiritual direction, others who are attracted to the sensorial aspect. We do not claim to be what we are not, a psychologist or therapist for example. We simply practice what we are professionally – perfume makers. We cannot force clients to “travel” against their wishes. That said, my start as a perfume maker comes from the world of Sufism and the ability of perfume to transport us elsewhere and stimulate an inner transformation. The spiritual realm is fundamental for me. What fragrances do you often return to? When I need to “find myself” I choose a specific rose species. The rose is one of most precious fragrances in the world of perfume making. Middle Easterners consider the rose to be a masculine fragrance, which may be difficult for Westerners to comprehend as we are used to a more feminine interpretation of the flower. We tend to think of Caterina de’Medici, who brought to Grasse the ancient tradition of Florentine perfume making and the cult of rose perfume for women. In reality, the rose is without gender and has a high spiritual power, as does Agarwood.

Aqua Flor Firenze di Sileno Cheloni Borgo Santa Croce 6, Florence

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Stops such as the city Greve in Chianti and its village Panzano in Chianti are a wine tourism must, not to mention for foodies seeking the famed, Dante-reciting butcher Dario Cecchino. But what about lesser known spots in the Chianti territory? An important educational partner of Apicius International School of Hospitality’s Spring 2013 semester has been the renowned wine producer Capannelle, owned by James B. Sherwood, the founder of the Orient-Express luxury hotel group and tucked into the small town of Gaiole in Chianti. Capannelle and its boutique wine resort are an extremely unique facility that continuously awaits the arrival of diverse guests for various viticulture educational experiences. The resort consists of a guesthouse atop a large wine cellar, looking over 16 hectares of wine groves. The resort thrives on the familial feel of the staff members who host new friends several times a month. “Last weekend we hosted a Greek wine tasting seminar,” explains Manuele Verdelli, the Sales Director of Capannelle. “The focus of the Capannelle vineyard is education.” This aspect is key to Capannelle’s existence, since the resort only produces 80,000 bottles of wine a year, a small amount compared to other Tuscan wineries that produce on average 400,000 bottles per year. The four different wines are sold in 35 countries in limited amounts. The United States, as one of Capannelle’s largest country markets only imports 5000 bottles of its wine each year. “It is about the quality of the wine,” explains Verdelli. But Capannelle’s vision is ultimately to bring people together who are interested in wine, the region, or both, and give them the opportunity to learn, indulge, and network with others who share this common interest. 54

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The famous Chianti area is comprised of a majority of the Tuscan region. The focus subarea of Chianti Classico is comprised of seven villages. One of these villages includes Gaiole in Chianti. This town, with a population of 3,000 people, is particularly famous because it produced the ﬁrst Chianti Classico wine in 1860. Chianti is well known around the world due to the production quality of the wine as well as Tuscan food. The soil and climate of the region allows for the growth of rich ﬂavors that are in demand. Chianti wine is paired well with Tuscan food, which draws in diverse consumers and gives this Italian region its famous reputation.

On Friday, April 19th, Capannelle received a unique group of guests and collaborators. A group of 19 students from Apicius served as the visiting management staff for the weekend and hosted the resort’s guests from arrival to check-out. The guest list included reporters from magazines such as the Wine Enthusiast and the owners of renowned restaurants such as Ora d’Aria and Tenda Rossa. For three days and two nights, these students managed the resort as a whole, from the hospitality components to the food preparation and the informational wine tasting.

Apicius’s original TuttoToscana project takes place in the fall. For four weeks, students focus on speciﬁc culinary or promotional education in preparation for a ﬁfth week in New York City, a collaboration with the James Beard Foundation to host Tuscan culinary and wine events. The vision for a springtime version of this TuttoToscana simulation starts with this experimental April event at Capannelle.

Florence University of the Arts has cultivated a relationship with Capannelle, as well as 15 other Chianti wineries through the “Apicius Friends” alliance. This cooperation is an opportunity for both sides of the equation. While the school collaborates with wine producers for viticulture courses and locations for student trips, the products are showcased in Ganzo and at school academic activities. Students have even collaborated with the vineyards to create wine labels. Through this partnership, Apicius has grown fond of Capannelle, already featured at a 2012 James Beard Foundation event hosted by the school. Their strong educational emphasis will provide an important foundation for TuttoToscana. “I enjoyed meeting the students who have come to visit and familiarize themselves with the resort that they will be managing for the weekend,” Verdelli says. “I’m proud that this collaboration can happen at Capannelle.”

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The 19 students who managed the resort included ﬁve hospitality students, four culinary students, three wine students, and seven baking and pastry students. But the school’s involvement only begins with these small groups. At team meetings, faculty members and students from other classes, such as Special Event Management, also worked towards the common end goal: making the weekend event a success. The large work group involved introducing some challenges to the communication and operation process, yet the dedication from many different sources came together to create a unique experience for everyone involved in the process. And most importantly, an enjoyable weekend for the guests. Ana Maria Méndez, a hospitality student, spoke about her impression of this project. “I looked forward to applying everything I have learned during these past few months. I think the best way to learn is by doing, and I couldn't think of a better project… I have learned about every bit of the process of creating a great weekend for our guests and this hands-on experience gave me a sense of what hospitality management is all about.”

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Another educational aspect that was prominent throughout the entire project planning and will be carried through the event is the idea of sustainability. The theme of the zero kilometer menu determines that every ingredient is from Tuscany and has little impact on the environment. “This was tough,” says Brett Romberg, a culinary student addressing the creation of the menu. “We had very strict guidelines for seasonal, low environmental impact meals. The menu had to be revised multiple times in order to make sure we were within these limitations.”

Guests were invited to evaluate the student teams from all perspectives regarding the services offered during the weekend of events. A further outcome was the voting and nomination of two students who excelled in hospitality and culinary efforts. The winners were Ana Maria Méndez and Brett Romberg, who were awarded with internships at the Michelin-starred restaurants Arnolfo and Ora d’Aria.

You are asked if you would like coffee or tea after dinner, but you know that asking for tea will result in a € 3 charge for a cup of hot water and a tea bag (something you could easily recreate on your own at much less the cost). Grocery stores only sell the very basic types of tea anyway, and you are looking for something different. You are lost and don’t know what to do. I’ve been in that situation. After arriving to Coffee Nation, I had trouble finding a warm drink to please my taste buds on a cool day. Being the bookworm that I am, I’m used to spending my spare time in bookshops and library cafes, sipping on a hot mug of chai tea. When I made the decision to come to Florence, that’s what I imagined my experience to be like. I pictured myself sitting in a quaint Italian café, sipping on a mug of tea while scribbling in my journal. When I got here, though, I found that this would be difficult. The majority of the cafés I found only served espresso or cappuccino and didn’t have the welcoming environment I had been seeking. I was disappointed, but I knew that I needed to look just a little bit harder to find what I had been looking for. About halfway through the semester, however, I found an entire hidden sub-culture of teashops and library cafés; I knew they’d show up eventually! I first stumbled across one café on the Oltrarno side of Florence, which has since become my favorite place in the city. Tealicious, located on Via Romana 26/R, embodies the spirit of tea that I had not previously found in Florence. As I entered the shop, I was greeted by a cozy living-room appearance, a decadent bouquet of aromas, and a very pleasant woman who I later found out is the woman in charge of it all. I was immediately invited to take a seat. She introduced herself as Marcela and asked me what I’d like to drink. I asked her to prepare her favorite tea, and she proceeded to prepare a wonderful mix of “Chai Me” and “Vaniglia Classic Bourbon.” As I drank my tea, I asked her about herself and the shop. I found out that she opened Tealicious in 2010 as the first tea sommelier in Italy, only having moved to Florence from Argentina two years prior. Having always worked in the tea industry previously, she decided to open Tealicious as a way to continue channeling her love for tea. “In

the beginning, people said I was crazy,” Marcela explained. “They told me I would not succeed as there is no market for tea here. But I believe that if you don’t find something, you must create it.” She told me that she was hoping to create a “relaxed and young” cafe, as an attempt to counterbalance the traditional atmosphere of old-style cafes. “Italians often believe that if something doesn’t exist, it’s because it doesn’t work. It’s a very traditional way of thinking. Italians just don’t like change. But it’s time for a change,” Marcela said. “I have created a change in this city.” Within the past year, Tealicious has grown in popularity. It has been featured in local and national publications, including magazines such as Firenze Spettacolo and Foodies 2013. Tealicious attracts people of all ages, backgrounds, and nationalities, though they all have one thing in common; a shared love of tea and the culture that comes with it. “I don’t want to be a place you see everywhere, because personality is often lost in most big companies,” Marcela concludes. “I am happy and the people who come here are happy, too. I want people to come here to share tea, know tea, learn about tea, and relax with tea. Everybody is different, so I seek to only attract like-minded individuals.” Marcela does sell her tea to a handful of local hotels, restaurants, and cafes, however, but holds specific criteria for places that handle her tea. “They have to be quiet places,” Marcela explains, “and serve the tea the way I serve it. The client has to feel the same there as they do when they enter my shop.” After finishing my tea and hearing Marcela’s thoughts, I thanked her and left. As I exited the shop, I knew that I had found the atmosphere and dynamic I had pictured before arriving in Florence. I immediately felt a sense of comfort knowing that there was a couch, a woman, and a pot of tea that would welcome me back whenever I chose to stop by next. I had felt as if I was now able to fully live my ideal experience abroad. To other lost tea-enthusiasts: though very small and very hidden, Florence does provide the delicious drink and comforting culture you have felt lost without. Don’t give up hope, because I promise that you will find what you’ve been missing.

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I pass a few lonely benches and a restaurant or two before I approach Ponte Vecchio. For two months I did this, not noticing anything spectacular or extraordinarily beautiful. Easter was the ﬁrst truly warm spring day we have had here in Florence. The sun broke free from the clouds in the latter part of the day as I took my routine left out of my apartment door. As I turned the corner, the usual bare benches were replaced with life and laughter. Children giggling, dogs jumping and birds singing replenished this routine uninspiring space. This empty unit of cobblestone transformed itself into a thriving piazza full of excitement and entertainment. The name of the piazza that I am referring to is Piazza della Passera. Located on the corner of Via Toscanella and Via dei Vellutini, right around the corner from Palazzo Pitti, Piazza della Passera comes to life in the warm weather, as does the rest of Florence. It is a tiny little square ﬁlled with radiant energy. Lined with benches and greenery, Piazza della Passera is a nice recess from the busy city-center commo-

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tion. With a selection of three restaurants, a café and wine bar and a gelateria, this piazza has all the essentials. Early in the morning, you will find locals sitting on a bench, reading while sipping on a cappuccino and eating the pastries that they got from the corner bar, Caffè degli Artigiani. Here you can find an abundant selection of wines, coffee, light meals and live music. At night, this café really comes to life and provides Piazza della Passera with some of its flare. As the sun makes its way across the sky the people eating breakfast are replaced with couples playing with their dogs and drinking wine that was provided by the same café. The couples are aroused with the spirit of the square and will sit for long periods of time just enjoying each other’s company and the wonderful atmosphere. At the same time, parents bring their children to get gelato at Gelateria della Passera. With a variety of exotic flavors and low prices this gelateria is the perfect place to refresh your taste buds and get a taste of Piazza

della Passera’s unique charm. For lunch, groups of friends will meet for a healthy meal. 5 e Cinque is a trendy organic restaurant that serves mostly vegetarian dishes. The menu changes continuously and has a variety of inexpensive options. It is the perfect place for a light lunch. As the high sun dances lower in the sky, locals will come to get some classic Florentine dishes at Il Magazzino. Here they specialize in tripe and lampredotto, which you can get in a variety of different dishes. It is an impeccable place to experience the indigenous foods of Florence. As the sun is just barely visible and stomachs begin to growl, you will ﬁnd the restaurant 4Leoni getting rather busy. The tables and chairs outside of it begin ﬁlling up and the people eating dinner there often mingle with those relaxing outside of the café and gelateria. 4Leoni has a rather plentiful, inexpensive menu. The worst part of this restaurant is having to choose between the many delicious options that they offer. The cheesecake at 4Leoni is exceptional, so save some room. When the sun is merely just a memory, the lights on the awning outside of 4Leoni illuminate the square and provide Piazza della Passera with a lively night vibe. In the morning, the sun rises, and the older woman takes a seat once again on her usual bench to read. The day advances and the cycle is repeated, sunrise to sunset. When the weather gets nice and people step out of the darkness, the atmosphere of the city evolves into a completely new one. People are friendlier and happier. The piazzas come to life and the ones that were too small to notice in the winter sprout throughout the city. The weather will continue to get warmer and the city will begin to revive itself, growing with life and vivacity. This new Florence will be all around us but the most unique squares, eateries, and city gems will still remain slightly hidden. They are everywhere so keep your eyes open.

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Cecilia Ricci Chef Instructor

Grimod de la Reynière once said, “The kitchen is a country in which there are always discoveries to be made.” This is a great quote to analyze when considering we live in Florence, a town where there are so many intriguing and small details to discover when you stop and smell a freshly brewed espresso instead of roses. Especially just by walking down the streets, taking in the sights of historic buildings and smells of Italian cuisine. When it comes to exploring the tastes of Italian cuisine, no one knows it better than Chef Cecilia Ricci, a FUA instructor at the Apicius culinary department. I sat down with Ricci one day to do a little "kitchen discovering" of my own. I was on a quest to find hidden and unknown Florentine recipes that had a hint of historical flavor behind them. Ricci uncovered two authentic, yet traditional, recipes to me. One comes from a more humble peasant origin. It is called Carabaccia and the other from a more aristocratic taste called Pasticcio di pesce. Carabaccia is a delicious Florentine sweet onion soup. The recipe includes sliced onions boiled in vegetable broth and is enhanced with ground almonds, cinnamon, sugar, and vinegar, giving the soup a sweet, yet sour kick. It was traditionally made by Florentine peasants. Carabaccia is believed to have pioneered the path for French onion soup and was most likely brought to France by the famous Catherine de Medici and her Florentine Medici Court, through her marriage to the French King Henry II. The word “Carabaccia,” unbeknownst to me, actually refers to a small boat. The structure of these small boats similarly resembles that of a walnut shell and were used in Florentine Renaissance times to ferry people and other products across the Arno river that passes through town. The recipe is rumored to be dated back to the 1300s. It doesn't take much to make this savory soup. So what are you waiting for? Unearth these ingredients and make the recipe for yourself! Pasticcio di Pesce is a flavorsome dish. When told the ingredients in it, it might make a person squirm. It is a fish and potato pie. It's a delicious casserole mixture of fresh water fish such as salmon or trout, fennel, bitter orange, cinnamon, ginger, black pepper, saffron, salt, butter, and flour. Little is known about the exact history of this dish, but it seemed to be made quite popular in the United Kingdom by the famous Anglo-Italian chef, Charles Elmé Francatelli, who became chief cook for Queen Victoria in 1819. Hence it was very popular among the wealthy to eat this dish.

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Lawrence Van Gelder said, “The mere fact of an undiscovered restaurant, in a city where [connoisseurs of good food] travel in ravening packs, creates an excitement unrelated to the quality of the cuisine.” As students, what a great quote for us to ponder while living and studying here in Florence. During my conversation with Chef Ricci, I asked her how the restaurant scene in Florence was evolving today and the impacts today’s changes may have on future restaurants. Ricci believes that the development of the restaurant scene in Florence in general, depends on the type of restaurant. For example, trattorie seem to focus on more traditional Florentine recipes, like bread soups including pappa al pomodoro (tomato bread soup), or fagioli all'uccelletto (cannelloni beans with tomato sauce, legumes, olive oil, sage, and garlic). In her opinion, she doesn't see many restaurants wanting to preserve the uncelebrated traditional recipes like Carabaccia, or Pasticcio di Pesce from their historical background. Instead, many restaurants now focus on recipes that are more appealing to tourists. Although that’s not to suggest that most restaurants don't still serve traditional food, by all means some of the most traditional dishes can still be found in these places as seen in the examples of lasagna and arista (rust potatoes with pork loin ﬁllet). For Ricci, considering what her Italian culture was like in the past and in the present, she can afﬁrm that the new generations of chefs are still considering what they can learn from the past to create a new Italian cuisine. She believes the new generation of chefs can't begin a new evolutionary cuisine without a look at the past. “Everything references to the past. The ingredients can change but, the fundamental elements remain the same - good fresh produce with seasonality," she said. Ricci notices that chefs nowadays are presenting their meals in a different kind of way, in terms of the methods of cooking. "Right now its all about cooking lighter for the sake of saving time, for example, the value of a lighter pasta sauce equals less fat, reduced cooking time, and makes for an easier digestion,” she said. One reason why chefs are beginning to change their recipes is so that they can attract more tourists especially those who are dieting while traveling. They create the presentation of their pastas to look lighter because society is constantly demanding to move at a faster pace, therefore the sauce needs to be cooked faster to attract the tourist who is looking for a light, healthier meal.

When it all boils down to it, Ricci believes that when cooking, one must cook with sufﬁcient and ample timing because the purpose of cooking is to obtain the better ﬂavor of the ingredients along with the appropriate techniques. And just like Grimod de la Reynière once said, “The kitchen is a country in which there are always discoveries to be made."

Ingredients 4 large onions 4 cups of broth 2 cups of white wine 2 tbs sugar 100 gr (3 oz) ground almonds cinnamon salt extra virgin olive oil Slice the onion and cook them slowly in a pot with 6 tbs of olive oil. As they are soft, add the broth and the wine and cook to reduce for 30-40 minutes. Season with salt and sugar. Flavor with cinnamon and thicken with almonds. Serve hot.

Dough 300 gr (10 oz) flour 70 gr (2 ½ oz) butter salt water Filling 600 gr (20 oz) fresh water fish (trout or salmon) 1 fennel bulb 1 bitter orange (or grapefruit) mixture of spices (cinnamon, ginger, black pepper, saffron) salt butter Soften the butter with two spatulas. Knead the ingredients adding enough water to get a good homogeneous consistency. Wrap the dough in plastic film and let it rest for 30 minutes. Wash and clean the fish. De-bone it; joint the fillets forming again the fish shape. Rub with plenty of salt and let it rest for 5-10 minutes. Chop the fennel thinly. Peel the citrus wedges. Clean the fish, taking off most of the salt; rub with the mixture of spices. Roll the dough in a thin layer, shaping it in a rectangle. Place the fish on the dough; spread the chopped fennel; place the citrus and little pieces of butter on top≠. Fold the dough. Bake in pre-heated oven at 200°C for 40 minutes.

[Restaurant]

Illustrations and Photographs by YUN-YEN CHUANG

More ethnic restaurants are opening in Florence. What's unique about your place? G: Our menu is like any typical Chinese restaurant in Florence. However, what makes us the best Chinese restaurant are our chefâ&#x20AC;&#x2122;s cooking skill and his creative ways of working with the ingredients. As a result, we guarantee our customer outstanding Chinese cuisine. T: IYO IYO is distinct for its homey atmosphere, people get attached to our restaurant and like to come back. Our place also offers high quality cuisine at very affordable prices. What's a typical day at work like at your restaurant? G: Our daily tasks are divided between my husband and I. My husband is in charge of buying fresh produce and prepping them. Whereas I prepare breakfast for kids and send them off to school. After the kids are gone, I will assist with whatever is needed for the business. T: I arrive around 11am and begin the lunch preparation. Evenings are solely dedicated to sushi and the preparations are thus more complex.

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Your restaurant is in a neighborhood far away from tourism. What kind of clients do you have? G: Most of our customer are Italian and few Americans. T: Mostly Florentines and every once in a while students as well. How do you see integration between Chinese residents and Italian culture?

How did the restaurant get its start and what's your culinary background?

Rosticceria Cinese Casalinga Via del Leone, 53/R Florence

G:For the most part it is for our living. My husband was a chef in China and after moving here we decided to continue with what he does best. T: I came to Italy to learn Italian cuisine. After living in Rome I came to live in Florence. After various experiences I ﬁnally opened Trattoria ACCADI in 2000, a restaurant featuring Tuscan cuisine. IYO IYO Borgo Pinti, 25/R Florence

How long have you been in Italy and why did you decide to open this restaurant? G: We’ve been here for a little over a decade. Three years ago, we finally decided to open a restaurant owned by us. In order to create a menu that best fits the Italian diet, we conducted a market research. We tried many different restaurants in Florence and paid close attention to what people like and dislike. Using the information we collected, we were able to put together what we have today. T: I’ve been here since the age 22 and I finally got the chance to open IYO IYO two years ago, when the space in front of ACCADI opened up. I quickly acted upon the opportunity and was able to open in February 2011. How do you choose your recipes? Your ingredients? G: We make some adjustments to the food in order to bring out the freshness in the ingredient. We also add more spices to make it more flavorful. T: The lunch menu is very simple. I offer classic comfort dishes eaten in Japanese homes. The menu has some unique fusion items as well such as the lampredotto don, a rice bowl topped with Florentine lampredotto meat. Curry rice, miso soup, onighiri, salted vegetables, soy sauce chicken, ginger pork, and other dishes are usually served as well. As mentioned before, evenings are dedicated to sushi.

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G: One of our biggest struggles was the language barrier. Getting business permits and other licenses was not a smooth process. Taxes in Italy are higher than we expected in addition to the fact that the government here has its own political problems on its plate. T: I see a positive integration, thanks to the neighborhood feel of Borgo Pinti. In this street we all know each other and get along well, whether with Italians or other ethnicities. And in any case, I believe my character leads me to generally get along with everyone. What hidden parts of the city do you like the most? G: The hidden parts of the city that I like the most are on the Oltrarno side of the river. It is less touristy and quieter. People here are friendlier and lives are more realistic. China is a very competitive country whereas in Italy one can ﬁnd moments to relax and enjoy life. T: This is a hard question to answer!

Another day, another endless marble hallway to sweep clean from Florence’s filth tracked in on the soles of countless walking shoes. Another gum wrapper to scrape off the bottom of the brochure racks detailing the creation of another Renaissance masterpiece. Another lost tourist laden with cameras and souvenir bags to direct toward the museum restrooms. Another day on the job. My industrial size water bucket and sopping mop feel heavier today as I slowly push them down the glossy corridor; I knew today would be a tough one after the all-nighter I pulled. I never thought the baby would stop crying, which didn’t help my dreary-eyed attempt to pay our long overdue credit card bills. Maria thinks the baby might be sick...great, another expense, when the checks we received as wedding gifts are already almost depleted. I knew Maria couldn’t stay up with the baby all night, but I also anticipated today would be another struggle, denied sleep with the daunting pile of bills still left unattended plaguing the back of my mind. All too soon, this is what my life has become. Dead end job, in debt, with an infant and wife to provide for. This wasn’t the plan. My back aches and my fatigued muscles scream in protest as I bend over the mop to start my monotonous routine around the gallery floor; luckily there aren’t many tourists to dodge today, I can only spot a small group of giggly female students and a seemingly frazzled mother chasing after her toddler. Mopping up a stubborn stain from the shine of the polished floor, I glance up at the same statue I pass by every day at work. The same smooth, white marble casting the same long, imposing shadow onto the slippery floor I am cleaning. I rest for a moment to stretch out my aching limbs, brush a bead of sweat from my brow, and look up into the statue’s face. I’ve always passed it by, day after day going to clock in and out of work, anxious to get home. I’m not one to really stop and contemplate art, decipher and appreciate its message. I’m no art history major, let alone a college graduate. So it’s safe to say I surprise myself when I look into the face of the statue and feel captivated, if only for a moment. I’ve never really noticed the lifelike precision in the defined, brawny carvings, in a way mirroring my own strong, worn muscles, or the brooding face so full of emotion. Stoic, controlled, confident...that face looked oddly familiar, eliciting a memory into the forefront of my mind of a moment that changed my life. I remember wearing that same expression when I told my father I was going to marry Maria last year when we were 19 years old, after we found out Maria was pregnant. I was overjoyed, I’ve never felt so blessed; the woman I loved was now going to have my child and we would be a family. We would be just fine, I reassured my father. More than that, we would be happy. My father didn’t see it then, he warned me to wait until circumstances were better. But I wore that same calm yet defiant look that the statue mirrors now when I refused his words, confident to prove him wrong in choosing my own path. Days like today, however, have made me sometimes question if I jumped into this life before I was ready, like diving into the ocean before taking a breath. I’ve feared that most days I am drowning, drowning in a sea of responsibilities and debt and diapers. I’ve forgotten how to be happy. But in this moment as I look up at the same statue I’ve passed every single day, and see that face gazing right back at me with uncompromising fervor, I am instantly reminded why I chose the life I did, why I chose to prove my father wrong, why I too wore that same face of poised conviction. I did it for love, for Maria, for my family. This is exactly the life I hoped for, I just need to keep working at it - I just needed a little reminder. I just needed a reminder to still be happy. Who knew that reminder would be from something so unexpected, from something I’ve ignored every day, from a piece of art? +++++++++ Chaos. Everything is pure chaos, per usual. Of course Jim lost our museum tickets I reserved days in advance - typical. Am I the only one who ever has her head on straight? It certainly didn’t help to have the kids complaining of the unforgiving heat the entire walk here. Exactly how many times did we get lost circling the Duomo? What was the name of this street again? Ugh, getting back to the hotel is going to be a nightmare. I bustle down the corridor lined with unfinished, crumbling marble busts of some historic importance I am sure, but the sight of Cassie scurrying up ahead toward a group of students preoccupies my attention once again. Now that she’s walking, I swear Jim and I can’t keep her in our

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sight for more than thirty seconds or she’ll be swimming in the janitor’s mop bucket. I catch Caleb in the corner of my eye trying to reach up and touch one of the statues...not again. I quickly change course and dart over to grab his hand in mine before prompting the unwanted attention of a stone-faced museum worker. I drag him back over to Cassie amidst a stream of complaints, the over-sized diaper bag on my shoulder swinging precariously near a fragile exhibit. When I reach Jim near the main exhibit of the tall, marble statue, immediately Cassie is thrust into my arms as she begins to wail for dinner. We just had lunch a half hour ago. But no, now Jim says he could go for a cup of gelato now that you mention it. I heave a big sigh, frustrated, sweaty, and exhausted. My feet are incessantly aching and my bad knee feels as though it is throbbing through my jeans at this point. I barely glance up at the statue as Caleb starts dragging me away toward the sign for the bathroom, and Cassie sure enough takes off a second after I set her down. Jim tells me not to worry, we can come back here another time, he’s sure of it. There will always be plenty of time. So I breeze by the statue, my mind already on other things - dinner reservations, bedtime, cell phone adapters, tomorrow’s tours - yet quite confident that no, there won’t always be plenty of time. +++++++++ All this fascinating ancient history surrounding me, and I can’t help counting down the seconds until this final tour is over and I can be alone. Our class has only been in Florence for two days, and all too soon the tight quarters and close proximity to my obnoxious classmates is suppressing what should be an amazing cultural experience. I have already accepted that my ritzy, snobbish classmates with their chins permanently stuck in the air have made my days at our all-female prep school an incessant pattern of neglect and disdain,but I had at least hoped this would not be the case during our European field trip. Apparently I was wrong. The petty taunts about not having the most fashionable Prada bag, or my preference for reading Chaucer over a fixation with the latest Cosmo article, or my uncontrollable frizz-ball of hair sticking out like a sore thumb in a sea of cascading blond locks have only gained momentum. Honestly, at this point, I’ve come to get used to the trivial banter; albeit I never thought I would on those evenings after school when I would attempt to stifle my silent tears in the bathroom so my mother would not hear. I guess it’s like Darwin’s theory; I’ve adapted to my environment, grown tough skin to make me immune to these predators. But even so, even if my pride doesn’t want to admit it, what outsider doesn’t secretly wish to fit in? Especially in high school. I casually swing my hand-me-down book bag on my arm (nope, not an authentic Tory Burch bag) and wander over to the gold-plated plaque detailing the history of the large marble statue rising high above me. I have read about this work of art in countless books, listened to numerous lectures, seen dozens of photographs, but none of them have done it any justice. It is so magnificent, all I can do is tilt my head back in awe until my neck aches. I tear my gaze away to look down and read the informational plaque below the statue. Artist, date, made from marble, blah blah blah. But what catches my attention is a fact I had never read in any of my text books before, nor heard from any lecture, a fact that surprisingly strikes an emotional chord in me. Apparently, the famous artist only happened upon this particular piece of marble by chance, cast aside by another artist who had started another sculpture but discarded it. So the artist of this statue took the piece that was neglected, and after some inspiration and time and sweat, turned it into something completely brilliant. I feel something stir within me, and I look up from the engraved words with fresh eyes.This masterpiece standing right in front of me, treasured and adored for centuries, was once nothing but a cast off piece of stone: forgotten, ignored, doubted. But out of the rubble rose something magnificent. Although I don’t want to admit it to myself, somehow I feel a comforting sense of reassurance from this newly discovered piece of history. No, I’m not an imposing Renaissance statue, but given the chance I know someone can recognize my greatness too. Now, I have proof that it’s possible. I turn and glance back at the circle of girls pointing and giggling, and give a small smile. Someday, they’ll see. +++++++++ The shimmering summer glow outside the windows of the Accademia began to dim as dusk settled and visiting hours came to a close. The families of tourists - chasing tiny children, faces hidden behind oversized city maps - scrambled out the exits searching for their next dinner destination. Uniformed students led by tour guides and professors filed back out the grand doors, one straggler in particular reluctantly trailing behind to catch one last glimpse of the masterpiece. And finally, once the museum was darkened and put to rest, the museum workers and janitors trailed out the employee exits one by one; one janitor in particular embarked on his walk home with a new spring in his step. Another day at the Accademia, where hundreds of onlookers come to view, contemplate, simply pass by, or be forever changed by this single piece of art: Michelangelo’s David.

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Photograph by Maggy Kilroy

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