Sicily is often referred to as a crossroad. Indeed it is a
place where geographically and culturally civilizations met and melded in ways
that continue to this day to influence scholarly debates on ethnic identity in
antiquity. It is not surprising therefore that Sicily’s Department of Cultural
Heritage contains “Sicilian Identity” as part of its title and mandate.
Sicily was
critically important not only to the naval powers of ancient Rome and Carthage,
but also to Hellenistic Greek expansion and colonization. Punic and Greek
settlers left traces of their magnificent cultures throughout the island.
World-famous among the archaeological treasures of western Sicily is a sublime statue of a charioteer, known simply as the “Youth of Mozia”.
World-famous among the archaeological treasures of western Sicily is a sublime statue of a charioteer, known simply as the “Youth of Mozia”.
My own fascination with this statue spans decades and it has
become for me the symbol of my homeland—not just of Sicily, but specifically of
the area near Lo Stagnone lagoon where I was born and the nearby island
of Mozia .
Imagine then my reaction earlier this summer at the Getty
Villa Museum in Malibu, in seeing the Youth
of Mozia standing serenely at the center of the exhibition room as if in
greeting. My experience was akin to seeing a beloved relative in an unexpected
and far-away land!
The Youth of Mozia is
currently in the United States as part of an extraordinary exhibition, Sicily: Art and Invention Between Greece
and Rome, which brings together antiquities from Sicily and Western
Europe to tell a story of Classical and Hellenistic Sicily during a tumultuous period of political and social upheaval between 480 BC and 212BC.
This unique
exhibition was made possible by the Regional Department of Cultural Heritage
and Sicilian Identity and the J. Paul Getty Museum, and represents a continuation
of an important cultural and scholarly dialogue between the United States and
Italy. Having finished its tour at the Getty Villa, it has now gone to the
Cleveland Museum of Art and will continue to Palermo, Sicily, in 2014.
If you have an opportunity to view this
exhibition, I highly recommend it. You won’t be disappointed and it’s worth the
trip to Cleveland or even Palermo! If not, I suggest taking a look at the
accompanying catalogue published by The J. Paul Getty Museum of the same title,
beautifully photographed, with essays by notable Sicilian, European and
American scholars and introductions by exhibition curators Claire Lyons and
Michael Bennett. This work is an
important new addition to our collective knowledge of Sicily and
I know you will treasure as much as I do.
Until next time,
Ciao a presto!