04 November 2024
Bad teachers return to the classroom. And they do it, for a change, in red Tuscany. This afternoon, during the third day of the “Festival dei Popoli” in Florence, the film “Pensando ad Anna” will be presented. A film that narrates the events of the former terrorist Pasquale Abatangelo, protagonist of the main revolts that shook Italian prisons in the 1970s. The film, written and directed by Tomaso Aramini, is selected in the Italian competition and Abatangelo, according to what the organizers report, will be in the room and will speak at the end of the screening. We need to take a leap in time to reach the years of lead, what is historically considered the darkest period of our republic.
Abatangelo was born in 1950 on the banks of the Arno to a southern family and was soon struck by the mirage of the Sun of the Future. To be achieved at any cost. And so he decided to found the NAP, acronym for Proletarian Armed Nuclei, and then joined the Red Brigades. But to understand the specific weight of this terrorist, it is essential to underline a passage: Abatangelo was one of the thirteen political prisoners whose release the Red Brigades requested in exchange for the release of Aldo Moro. If not one of the most exposed leaders, certainly a character who is anything but secondary. In 1974 he was arrested after a violent firefight with the police, in which he was seriously injured. After his hospital stay, he was imprisoned in the Florentine prison of Murate. But the aspect that makes his presence this afternoon absolutely inappropriate is his belief that the armed struggle was a necessary step, however painful. In fact, Abatangelo never repented or dissociated himself, he served twenty years of prison, six of semi-liberty, and four years of probation. Proudly convinced of being on the side of reason. In short, not exactly the best example to follow for young people entering the varied (and complicated) world of politics. A prototype light years away from the figure of the teacher or narrator capable of telling, with objectivity, such a delicate piece of Italian history.
Video on this topic
Scrolling through the detailed portal of the Festival dei Popoli, we discover that the 64th edition was created with the support, among others, of money from the EU, the Ministry, the Tuscany Region and the Municipality of Florence. Public money used not only to organize an event with profound cultural value, but also to host a man convinced that shooting policemen, magistrates or carrying out robberies to “self-finance” is a mode of political struggle, if not legitimate, at least justifiable. Last year, again in Florence, Abatangelo participated in the presentation of a book at the Cpa Firenze Sud. A social center sadly famous because, every 10th February (when Italy pays homage to the Istrian and Dalmatian exiles on the Day of Remembrance) it exhibits with the flag of Marshal Tito’s former Yugoslavia is bold. The space occupied illegally for over twenty years is certainly not new to hosting bad teachers. The most striking case was the one dated 2018, when a “colleague” of Abatangelo, Barbara Balzerani, presented her book “I’ve always known”. That day, the former terrorist of the Red Brigades had horrifying words towards Aldo Moro’s daughter. Killed in 1978 by the Red Brigades. «A figure, the victim, who has become a profession, this strange figure, for which the victim has the monopoly of speech». There is a clearly visible common thread that today, incredibly, unites Florence, the CPA, the Red Brigades and a prestigious festival also financed with public money. A thread that needs to be broken. As soon as possible.
Festival dei Popoli: A Lesson in Bad Education?
By Christian Campigli, 04 November 2024
The Return of the Bad Teacher
Who knew that Italy’s Tuscan hills, famous for their picturesque landscapes and exquisite wine, would also play host to the return of some, let’s say, less-than-stellar teachers? At the “Festival dei Popoli” in Florence, they’re not just rolling out the red carpet for critics, but also for some questionable characters from Italy’s tumultuous past, including our star of the show today, former terrorist Pasquale Abatangelo. Now, if your idea of a role model is someone who shoots first and asks questions later, you might be in the right place!
From Shadows of Terrorism to the Bright Lights of Cinema
“Pensando ad Anna” is the film unraveling at this very festival—narrating the saga of Abatangelo, whose illustrious resume includes founding the NAP (that’s ‘Proletarian Armed Nuclei’ for anyone not keeping score at home) and his cozy affiliation with the Red Brigades. They say you can’t judge a book by its cover, but when the cover involves armed struggle, you might need to rethink that for a moment.
A Lesson in Historical Context
Just to put it into perspective, Abatangelo was one of the thirteen political prisoners whose idols, I mean comrades, gave the Red Brigades a reason to play hostage poker with Aldo Moro. Spoiler alert: that ended poorly for Moro. Abatangelo has a fifty-year career in alternative education of the “let’s shoot our way to enlightenment” variety. And here’s the kicker: he never felt the need to repent, serving twenty years in prison and coming out still convinced he was the hero in this tragic opera. Talk about staying committed to your lesson plan!
Florentine Festival or Fundraiser for Bad Ideas?
Let’s not forget: this festival’s funding comes from a mix of public money—EU, Ministry, Tuscany Region, and Florence Municipality—because nothing screams cultural enrichment like giving a platform to someone who believes in, shall we say, unconventional methods of political discourse. I mean, can you hear the parents now? “Oh darling, what did you learn in school today?” “Well, we had a Alex Reed speaker who spent twenty years in prison for refusing to rethink how he approaches conflict resolution.” A proud moment, I’m sure!
Bad Teachers Unite!
And if you thought that was the worst of it, brace yourself for a side-plot twist: last year, Abatangelo graced the stage at another funky venue known for its anti-establishment vibes (think punk rock meets political seminar). The infamous Barbara Balzerani even dropped by to share her literary musings that left many with jaws agape, including cringe-worthy commentary on Aldo Moro’s daughter. Yep, just your regular ol’ history lesson, folks!
Breaking the Thread
There’s a clear thread that stitches together Florence, the anti-hero CPA, the rebellious Red Brigades, and a festival that thrives on public applause. It’s a wearisome theme of glorifying figures who, quite frankly, belong in the history books as cautionary tales rather than the leading stars of cultural festivals. It’s time to cut that thread—left unchecked, it’s only going to unravel further!
Conclusion
Now, don’t get me wrong; cinema can be a potent tool for everything from historical reckoning to sparking important conversations. But let’s hope “Pensando ad Anna” serves as a chance for reflection rather than an incitement to rebellion. After all, we need educators who foster understanding—not those who shoot their way out of complex discussions!
04 November 2024
The unsettling presence of controversial figures in education is making headlines once more, this time in the picturesque region of red Tuscany. This afternoon marks the third day of the “Festival dei Popoli” in Florence, where the highly anticipated film “Pensando ad Anna” will be showcased. This poignant film chronicles the tumultuous life of ex-terrorist Pasquale Abatangelo, who played a pivotal role in the significant uprisings that rattled Italian prisons throughout the 1970s. Directed and penned by Tomaso Aramini, the film has secured a spot in the Italian competition, and organizers have confirmed that Abatangelo himself will attend the screening to engage in a discussion afterward. To understand the weight of this screening, one must revisit the years of lead, a term used to describe the tumultuous decades marked by political strife, violence, and unrest in Italy.
Abatangelo’s roots trace back to 1950, along the banks of the Arno River, where he grew up in a family from the south. He was soon captivated by the idea of a ‘Sun of the Future’ that beckoned to him, propelling him into a radical path he believed was justified. He founded the Proletarian Armed Nuclei (NAP) and became a key player in the notorious Red Brigades. Notably, he was one of the thirteen political prisoners whose release the Red Brigades demanded in exchange for Aldo Moro, a prominent political figure whose kidnapping and subsequent murder in 1978 sent shockwaves across the nation. Although Abatangelo may not have been the most notorious leader, his influence was certainly considerable. His capture in 1974, following a fierce gun battle with police that left him critically injured, led to his detention in the Florentine prison of Murate. The controversy surrounding Abatangelo’s return today is magnified by his unwavering conviction in the necessity of violent struggle, a perspective he has never renounced. After spending twenty years behind bars, plus additional time in semi-liberty and probation, he remains steadfastly proud of his actions, which raises significant concerns regarding the messages being sent to the next generation entering the complex realm of politics.
Scrolling through the detailed portal of the Festival dei Popoli, we discover that the 64th edition was created with the support, among others, of money from the EU, the Ministry, the Tuscany Region and the Municipality of Florence. Public money was allocated not merely for an event steeped in profound cultural significance, but also to host a man who advocates for violent acts against law enforcement and public officials as a legitimate form of political expression. Last year, Abatangelo made headlines again in Florence when he presented a book at the Cpa Firenze Sud, a venue notorious for its controversial political stances. This social center draws attention each year on February 10, when Italy commemorates the exiles of Istria and Dalmatia with displays that include the flag of former Yugoslavia. The space, which has been occupied illegally for over two decades, continues to be a platform for figures like Abatangelo. The starkest example of this was in 2018, when Barbara Balzerani, another former Red Brigades member, shared her work at the same location and made deeply troubling remarks regarding Aldo Moro’s daughter, who suffered the tragic fate of being murdered by the Red Brigades. Such alarming narratives intertwine today, linking Florence, the CPA, the legacy of the Red Brigades, and a festival that operates under the auspices of public funding. This troubling connection must be addressed and dismantled without delay.
Ctive that many find hard to reconcile with modern ideals of peace and dialogue.
As the festival promotes cinematic exploration of varied topics, the selection of “Pensando ad Anna” raises questions about the implications of highlighting a figure like Abatangelo. Is it truly a celebration of artistic freedom, or is it a troubling endorsement of radical ideologies? Can enabling discussions with former terrorists contribute to historical understanding, or does it risk romanticizing violence and perpetuating extremist views?
In the wake of such events, it is essential for communities to engage in a critical examination of the narratives they choose to amplify. Public funds that support cultural initiatives should ideally serve to foster dialogue that unites and heals, rather than to elevate controversial figures who symbolize division and violence. Florence’s vibrant cultural scene should instead focus on stories of resilience, reconciliation, and constructive activism.
The discussion surrounding the Festival dei Popoli highlights a broader societal need: to ensure that public platforms prioritize messages that promote peace and understanding rather than those that glorify past violence. As the festival unfolds, it serves as a reminder that the narratives we elevate can significantly shape our collective memory and influence future generations.
while art can serve as an important medium for grappling with difficult histories, it is crucial to approach these narratives with a discerning eye. The stakes are high when it comes to who is permitted to share their story, and it is the responsibility of cultural institutions to consider the broader implications of their choices. Instead of inviting figures like Abatangelo to the stage, let’s strive to spotlight those who advocate for a better future through healing dialogue and constructive actions—after all, that’s the type of education we should be promoting.
