Lindsay Marie Morris

Dance is yet another medium to paint, sculpt, and transform spaces, says Sicilian-born choreographer Nunzio Impellizzeri. The former visual artist founded Nunzio Impellizzeri Dance Company in 2014 with a mission of offering audiences unique perspectives and experiences as well as a way to dissect and question social behavior.

 

The company's work has been internationally recognized, with performances in theaters and at international festivals in Switzerland, Germany, Russia, Italy, Poland, Finland, Denmark, Chile, Spain, and North and Central America.

 

They're currently gearing up for the November 20 premiere of PINK CARPET, which explores the boundaries between reality and imagination. The piece coincides with the company's tenth-anniversary celebration.

 

I recently caught up with Nunzio to learn more about his journey to choreography and the company's productions.

 

 

Where do you live, and where are you and your family from?

I live in Zurich, Switzerland, but my roots are in Acireale, a baroque city in Sicily, where my family still lives. This keeps me very much connected to my land and its culture. I left Italy in 2003 and traveled around Europe for my dance career. In 2008, I moved to Switzerland, where, later, in 2014, I founded the Nunzio Impellizzeri Dance Company. Looking at today, Zurich is the place where I've lived the longest.

 

Can you tell us about your journey into the world of dance and choreography?

My journey started in the visual arts. I studied art history, sculpture, and costume design, but I always felt something was missing. It wasn't until I stumbled into a rehearsal and observed a choreographer working that I felt that "click"—suddenly, I knew that movement was the language I was searching for. Dance gave me a way to sculpt space with the body, to paint with motion. It opened up possibilities that static art forms couldn't.

 

In 2008, an injury—the breaking of my knee during a performance—became a turning point. That moment was pivotal because it forced me to reflect on what I really wanted. It was a hard period, but in the midst of that challenge, I saw an opportunity to pursue my dream of choreography. In 2009, I was selected for the SIWIC platform for young choreographers, and that was the confirmation I needed. By 2014, I had founded the Nunzio Impellizzeri Dance Company to explore the infinite relationship between the body and space and create a dialogue that connects us all through movement.

 

Our company now works closely with internationally renowned dancers and collaborators, and we've had the privilege of performing at theaters and festivals around the world—from Switzerland and Germany to Chile and North America. What I'm most proud of is the way our work resonates with audiences, offering them a new perspective on dance and movement.

 

How has your background in visual arts influenced your approach to choreography and dance?

Visual arts is the foundation of how I think about dance. I don't just see movement; I see structure, space, and texture. For me, choreography is like architecture in motion. The body sculpts the space it moves through, and that interaction creates a dialogue not just with the audience but with the air, the light, and the ground. Every piece I create is designed with that in mind. Lighting, set design, and costumes aren't just accessories—they're extensions of the movement itself. I often design the costumes because they're integral to the concept of the creation.

 

The body is a living canvas, constantly generating energy. That energy moves beyond the physical; it moves the soul and creates connections. Dance allows me to see beyond what is in front of me. It keeps me connected to life in a visceral way, and it shapes how I perceive others and how I relate to the world.

 

Your works often reflect social phenomena. Tell us how you choose the themes for your productions.

My inspiration often comes from everyday life—things we see but don't necessarily pay attention to. Sometimes, it's something I've ignored for a while, and then it suddenly captures my interest, almost obsessively. From there, I dig into it—researching through lectures, films, art, philosophy, mythology—until I form the framework for the piece.

 

The themes I choose often come from observing human behavior in social contexts. Dance is such a powerful way to explore identity, silence, and connection—things that deeply resonate with our current times. I believe dance can move not only the body but the mind and soul. It challenges people to reflect on the world around them and to question and see things differently. My goal is to create works that spark dialogue and inspire reflection.

 

How do you integrate elements like set design, lighting, and costumes into your choreography?

These elements are not separate from the movement; they're intertwined. The body moves, it stirs the air, it transforms the space. Set design, lighting, and costumes amplify these dynamics. For me, it's about creating a holistic experience where everything works together to heighten the audience's perception.

 

Much like an architect designs a building to interact with its surroundings, I design my sets and lighting to interact with the dancers' movements. Costumes, too, play a key role—they're not just what the dancers wear but a part of how they move and inhabit the space.

 

Tell us about more PINK CARPET.

This piece is very personal to me. It delves into the boundary between reality and imagination, inspired by my mother's experience with Alzheimer's. The carpet itself becomes a symbol—a bridge between the tangible and the intangible. It's a deeply emotional journey, both for me and, I hope, for the audience.

 

What else is on the horizon?

2024 has been very intense with many projects. I recently finished the creation of CIRCOLANDO as a guest choreographer for a Swiss dance company, and now I'm also looking forward to FLAM.ME.UM, premiering in Germany at the Anhaltischen Theater Dessau in January 2025. This piece explores the evolving concept of identity, something I feel is more relevant than ever. Both pieces reflect my ongoing exploration of how personal experiences can resonate universally, connecting us through the unpredictable flow of life.

 

Can you share a memorable moment or experience from your career that has significantly impacted you?

Creating SCH.NEE in 2022 was a turning point for me. The challenge of working with silence and minimalism forced me to push my boundaries as a choreographer. The process required a level of focus and simplicity that I hadn't explored before. Seeing how deeply it resonated with the audience reaffirmed my belief in the power of art to connect people on an emotional level. It was a moment that opened up new dimensions for me as an artist.

 

What advice would you give to aspiring choreographers and dancers?

Stay curious, stay open. Dance is about more than just movement—it's about communication, about connecting with people on a deep level. Your body is a vessel for telling stories, sharing perspectives, and moving the souls of others. Embrace the challenges, and don't be afraid of failure—it's all part of the process.

 

I work with dancers who have strong technical skills, but I also value individuality. I want performers who can bring their own unique qualities to the stage. My advice is to stay true to yourself while remaining open to collaboration. Success, both as an artist and as a person, comes from that balance. Every creation is an opportunity to grow; each experience will shape you in ways you can't predict.

 

 

 

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Dance and folk music are the heart and soul of Sicilian tradition, connecting people and introducing others to the region's rich heritage.

 

For 39 years, Amici Italiani (Italian Friends) of Rockford, Illinois, has shared and preserved culture through folk dance. With both adult and youth troupes, the group performs traditional Quadriglias, Saltarellos, Mazurcas, Tarantellas, and Codigliones, all carefully researched as members of the Italian Folk Art Federation of America.

 

I recently chatted with Amici Italiani Director Bea Giammarese Ricotta, whose family came from the Sicilian towns of Aragona and Bagheria. We discussed her start as a founding member, the memories she associates with Italian folk music and dance, her favorite dances, Amici Italiani's traditional costumes, and her most rewarding performance.

 

 

How did you get started with Amici Italiani?

I was one of the founding members. We had a wonderful person named Shirley Martignoni Fedeli, who, with her husband, Gene, decided to start the Italian dance troupe.

 

The newspaper printed a small article that said, "If you're Italian and you want to dance the Italian folk dances, call Shirley."

So, my mom saw it, and I might've just graduated from college. And she said, "You like to dance. Why don't you call?"

 

I did, and Shirley sounded really nice, so I went. That was pretty much it.

 

I have to laugh because I was such an idiot back then. On the first day of dance practice, I showed up in a legit dance skirt and tights while everybody else wore sweatpants and shorts.

 

We were the founding members, and we brought in a dance instructor from Milwaukee's dance troupe, Mario DeSantis, who has since passed.

 

He taught us a couple of dances a year, and then we went from there.

 

I was a dancer for a million years, and then I became the instructor, and I did that for a number of years. I loved that. Then I got pretty old. When you can't do a hop, that's pretty bad. Your knees don't like you anymore. When our director retired, I became the director.

My two daughters are in the troupe. One of my daughters is one of the dance instructors. We have two: a male and a female dance instructor.

 

So, it's a family thing. They grew up in the troupe. And I'm going to tell you a secret: Every time I hear this beautiful Italian folk music, I'm telling you the people I lost in my life who came from Italy and are no longer here; in those few minutes that the song is playing, they're back, and it means so much. I'll never get tired of any of that music because they're alive all over again and all the good memories and all the love is still there.

 

What memories do you associate with that music and dancing?

We had relatives who emigrated here in the early seventies, so they came later than my mom. They were all grown. Most of them had kids already. And in the summer, they would have these little get-togethers in their backyards and they had a trellis with the grapes growing over. And they hardly had any lawn in the backyard because they planted tomato plants, rows and rows of these plants.

 

I remember seeing the moon, and there were lights that they had strung above the trellis. And whenever somebody went in the house, they brought out other platters of food.

 

When I was young, we would have wonderful family gatherings. My zio, my cousins Carl, Iggy, Frank and Mr. Spoto, a close friend from down the street, played instruments. They would bring out their instruments after we'd eaten and visited, and they would sing.

 

Sometimes, the ladies would dance together. Those evenings were magical. I mean, my dad passed away when I was very young, so it was not easy. But because of all this wonderful stuff, I really feel like my childhood was enchanted.

 

Of course, at weddings, they would always play the music. And as a kid, that was amazing. You'd get out there and dance. You didn't know what you were doing, but nobody cared.

 

Tarantella dances are popular at weddings. Which is your favorite?

They're all from the southern region and Sicily. But each one has a different flavor to it. And people really loved to watch them.

 

We always call the Neapolitan the main Tarantella here. You could do it with as many or as few people as you want. We dance this as a call dance so you can follow along.

 

We have Cantania's, which I love. Catania's Tarantella is totally different.

 

Some are just crowd-pleasers, and I don't know why. Some use tambourines, some don't. There's a Tarantella that only uses five people, and the movements are very together.

 

I tell the troupe that we're not Rockettes. This is a chance to show your personality. But there are some dances where you have to be more rigid regarding doing the same thing. So those are amazing for us. 

 

How do you get the audience to participate?

We've been hired to dance at weddings just to do what we call the main Tarantella, the Neapolitan one. But we get the bride and groom in there. We get Uncle Toto. We don't know who we're dancing with.

 

The difference between that and all the others is that it's a call dance. So, we have one person who calls the dance, and if he makes a mistake or does something we haven't practiced, you just do what he says—just follow.

 

That makes it really fun. And he says he calls it Italian, so it's really beautiful to hear those words.

 

How do your troupes ensure the traditions remain?

We are really committed to the authenticity of these dances. If we change something, it would be that we can't quite make a transition with a dance step, so we add a hop or something like that. But it does not change the integrity of the dance, which is so important to me.

 

Even the costuming has a lot of tradition. We don't use nylon fabrics; we use cotton and cotton blends, which are authentic to what they used to wear. They might get a little more "wrinkly", and need to ironed more often. But it's important.

 

I saw a dance troupe with young ladies in fishnet stockings. I thought, "Oh my God, no Italian father would've let their daughter leave the house like that."

 

I don't know what they were thinking. We try to be as authentic as possible. 

 

Tell us more about your costumes.

A woman from Pittsburgh put together a book of Italian clothing. We would pick our costumes from the book and recreate everything.  

 

We would take that and find a seamstress out here who could design and sew it. Now, we have a couple of dancers who can sew, which has been very helpful. 

 

We purchase what we can. We found some companies online that like to recreate historic items. I know they're recreating things for Comic-Con or whatever. I don't know why they're making these costumes, but we can pull a shirt here or a skirt there, and it is what we want. We will hem it, and it just makes it a lot easier for our seamstresses.

 

How has the local community in Rockford responded?

They love them. I love being out somewhere where they're clapping with the music. And when we have a chance to dance with the groups and the audience, I love seeing them get up there.

 

We will do the Tarantella with them. We'll also do the Scopa (broom) dance. Everybody gets a partner except one person. It's typically one of our guys, and he has to dance with the broom. And at some point, while he is dancing, he'll yell, "Scopa!" and he'll throw it, and everyone has to switch partners.

 

We've done that with crowds, and they do a great job. When locals see us in costumes, they stop us and ask if we can pose with them.

 

What do you hope audiences take away?

When I introduce a dance, I will tell a little bit about it and the area where it originated. So, we're trying to teach them about Italy and the dances. We want to entertain them and disseminate some of our history.

 

The story of the Tarantella involves a tarantula. I used to bring a tarantula to performances so that the audience could see it. And I'm telling you, any child in that audience could probably still tell you about the Tarantella because they remember the tarantula. The adults remember, too.

 

I share the history of the dances and tell them where they come from. We have two dances from Sicily that the Moors brought over, and I love to tell people about them. The dances and music are different, but now they're Sicilian dances and songs.

 

What has been your most rewarding experience with Amici Italiani?

There have been a few, but a real favorite of mine was in 1994 when we were invited to dance at the opening ceremony of the World Cup in Chicago to represent Italy.

 

We're out there, and there are cameras all over. We're dancing. It was so exciting and wonderful.

 

It was at Soldier Field. We ended the performance on the 50-yard line.

 

I was on such a high, and then I heard that my then-husband and his relatives in Italy were watching because everybody loves soccer in Italy. And somebody said, "That's Joe's wife." Crazy. Just crazy.

 

Dancing connects us so much. Granted, they remembered me there, but it was the dancing that connected everybody.

 

My kids have been dancers since they were bambini. They did the youth troupe, and now they're in the adult troupe. They're not the only ones who have stayed in it so long. It keeps us all connected.

 

 

 

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