Through the analysis of an ethnographic case study, this article investigates the dynamics of negotiation between tradition, collective identity and heritage practices within a changing socio-political context, adopting a feminist epistemological perspective. The object of study is a ritual celebration with strong gender connotations which, following requests for participation by previously excluded individuals, has generated heated cultural conflict. The investigation focuses on the community reactions that emerged in public debate and in forms of municipal mobilisation, exploring how divergent heritage narratives were articulated around key concepts such as tradition, identity, memory and gender. The feminist approach, understood as a critical and situated stance, allows us to highlight the ways in which social knowledge and practices are contested, reconfigured and made the subject of political claims. The contribution questions the dynamic nature of intangible cultural heritage, highlighting the tensions between conservation and transformation, and proposing a reflection on the role of ritual practices in the (re)production of collective identity and local cultural policies.
This article is a report on preliminary ethnographic research conducted in Bali in 2024 on Barong performances. The Barong mask nowadays is used in various performance contexts, ranging from ritual spaces in temples to shows designed for tourist audiences. Balinese dances, which originated in temples and courts, underwent a transformation and adaptation as a result of a strong incentive for cultural tourism during the 20th century. Starting from the mythological origins of the figure of Barong, through the visions of various performers, artisans, and scholars, this article investigates the separation and differentiation of sacred and profane Balinese dances and the influence of tourism on the performing arts.
The article presents the initial findings of the research project Italian Puppet Theatre and the Popular Glove-Puppet Theatre of Northeastern Brazil: Convergences and Inspirations, jointly conducted by the Federal University of Rio Grande do Norte (Brazil) and the University of Bologna. The art of glove puppetry crosses multiple borders while maintaining features that are similar, if not almost identical. The models considered are glove-puppet theatres with wooden heads, originally conceived and developed by folk artists. These pages therefore outline the main points of convergence-community identity, dramaturgical structure and themes, a historically recent focus on child audiences, and puppeteers' efforts to renew their expressive language-as well as the divergences between the models examined. The data collected through bibliographic and field research are analyzed using an ethnographic approach.
