Sabato Rodia's Towers in Watts: Art, Migrations, Development
Contents
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Highlighting Migration Highlighting Migration
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Of Names, Language, and Place of Origin Of Names, Language, and Place of Origin
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A Peasant Worldview A Peasant Worldview
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Contextualizing Rodia’s Migration Experience Contextualizing Rodia’s Migration Experience
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“A Natural Anarchist”:: Rodia’s Political Ideology “A Natural Anarchist”:: Rodia’s Political Ideology
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Rodia’s Song Culture Rodia’s Song Culture
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“The Church of True Freedom” “The Church of True Freedom”
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The “Great Men” Narrative The “Great Men” Narrative
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Italian Imaginaries and Forms of Popular Devotion Italian Imaginaries and Forms of Popular Devotion
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Italian Imaginaries:: Patron Saint’s Days, the Gigli of Nola,Close And Street Festivals Italian Imaginaries:: Patron Saint’s Days, the Gigli of Nola,Close And Street Festivals
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Acts of Devotion, Redemption, Gratitude: The Ex-Voto Acts of Devotion, Redemption, Gratitude: The Ex-Voto
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Bell Towers, Obelisks, and Campanilismo Bell Towers, Obelisks, and Campanilismo
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Treasure Treasure
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Ships Ships
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Conclusion Conclusion
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Works Cited Works Cited
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Sabato Rodia’s Towers in Watts: Art, Migration, and Italian Imaginaries
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Published:15 June 2014
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Abstract
This chapter addresses, first, Rodia's life and worldview as an Italian immigrant and, second, the Italian cultural practices and imagery embedded in his art. That is, it examines Rodia's life and the Towers in Watts through the prism of Italian diaspora history and southern Italian peasant cultural practices, imaginaries, and worldviews seemingly adapted by Rodia in California. It listens for Rodia's expressions of personal longing and enduring cultural myths and seeks to identify his hidden landscapes of memory. It considers the possible sources of his topographies—both mythic and physical. It focuses on the symbolic culture embedded therein—for example, bell towers, ships, gardens, hearths, treasure—and explores cultural practices of devotion, such as village celebrations (e.g. the Gigli of Nola) and ex-votos, to consider how the Towers might be considered a street festival or conversely a tangible expression of gratitude for “graces received”.
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