Da che parte sta San Rocco? 

Il patrimonio culturale come nesso fra mondi in movimento 

Sandra Ferracuti    Università di Matera    



In 2002, the ‘cantoria’ – a wooden structure built in the 18th century to be installed on special occasions in the Church of St. Rocco, in Venice, where it hosted musicians and singers – was transferred to the town of Cerea (Verona, Italy) to be restored to its original beauty and function with the help, among others, of artisans trained at the local school of drawing applied to artistic woodcarving, founded at the beginning of the 20th century by Appio Spagnolo. In 2013, the resto- ration was completed, the ‘cantoria’ le Cerea and Venice celebrated its return. An ethnographic research shows, however, that the years spent by the precious artifact in Cerea paved a symbolic way between the two cities, putting the basis for the possibility to use heritage as a way to link to each other cultural, economic, and social dimensions that are o en kept symbolically ‘distant’: that of the ‘heritage spectacle’, which privileges individual genius, unique or rare elite objects and the past, and that of the contemporary dynamic and populated landscapes of shared cra sman- ship, knowledge, and know-hows through which ‘minor’ protagonists express their agencies in o en economically penalized peripheral contexts. 


Keywords: Center/peripheryMuseum representationCra smanshipCultural heritage

Copyright: © 2015 Sandra Ferracuti. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.