I believe that art is universal because the needs of humans are universal. The noise of the streets, the language of the people, and the value of things can all change. The mood of the young people can change. Everything can change except the human need for beauty and tenderness. Starting from this assumption, I develop my artistic process constantly looking to offer the audience a path that interrogates four points. These four points are the cardinal points of the artistic compass and, therefore, the task of the artist to provide the audience an opportunity to recover from these points.
First: Get back to listening.Listen as an exercise of the mind and heart. Listening is a difficult thing in our time and many times one cannot even hear him/her self. We should return to the effort of understanding others and then to the effort of understanding ourselves through this key point.
Second: Return to sensitivity. Our time has killed sensitivity. I think that we need to know how much living truly costs. When we are human, we are more sensitive. We must rediscover our sensitivity because it is our prerogative as humans.
Third: The breath. The task of an artist is to give the breath of life to people. People already have the breath of life but today it is stifled. The best service you can do is create art in a time of crisis to return this breath of life.
Fourth: Go back to the prophecy. We need to return to conceiving art as a prophetic activity, as an activity of light.
I try to return to the world this notion filtered through my own personality, translating it into the field precisely. In dance, the body – or rather the human being – is the subject matter. The translation in material, then, passes through the being obliged to be present in the moment in which this translation occurs. This generates a mutable materialization of living art and grants me the greatest possibility of being present. We often underestimate the concept of “being there” or “being.” I think, as artists, we must have the courage to materialize through the present. Being immersed in our time, living our art, always looking for new ideas that help people to rediscover themselves, if only for a moment. We must have the “courage to be.” We have to stand on the negative scene to be able to announce a resurrection message.
Art, in my case dance, is a battle with the ugly and the battle against ugliness is always a moral battle. As an Italian, it has always struck me how Sicily is a marvelous land, but at the same time there are ugly towns in regards to the care of streets, houses, and urban planning. They are shabby, disordered … and it is precisely in these countries where mafia is rooted, as if the ugliness tragically reveals the “desire for violation” that is in the heart of the mafia. Opposing this neglect is the first point to oppose, in some way, the neglect of the mafia. Therefore, make war on ugliness and this war against ugliness becomes a metropolitan battle and a moral battle.