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“The kids are not stupid, they know what school is and I am not surprised at all by certain protests against distance education,” admits Roberto Vecchioni, speaking of the fibrillations that are going through the world of education. “I find these students intelligent, good and full of emotions that you just have to get out of them. For them, school is a second home, where you grow up and become men by being together with others. On the other hand, ‘ scholé ‘in Greek means free time, pleasant use of intellectual capacities. ” While waiting for the end of the “cursed night” that has fallen on the lives of people with the pandemic, the teacher puts the school back at the center of his literary journey with Lessons in Flight and Landing, the volume in which he explains the meaning of learning and challenge. cultural result in “circumventing the obvious, not repeating the known, piercing time, opening paths, probing the possible, the parallel, the alternative.” She says that the school is 90% of rule, obligation, seriousness and programs. Cast …
“The kids are not stupid, they know what school is and certain protests against distance education do not surprise me at all,” he admits. Roberto Vecchioni speaking of fibrillations that run through the world of education. “I find these students intelligent, good and full of emotions that you just have to get out of them. For them, school is a second home, where you grow up and become men by being together with others. On the other hand, ‘ scholé ‘in Greek means free time, pleasant use of intellectual capacities. ” While waiting for the end of the “cursed night” that has fallen on the lives of people with the pandemic, the teacher puts the school back at the center of his literary journey with Lessons in Flight and Landing, the volume in which he explains the meaning of learning and challenge. cultural result in “circumventing the obvious, not repeating the known, piercing time, opening paths, probing the possible, the parallel, the alternative.”
You say that the school is 90% of rule, obligation, seriousness and programs. And that 10% …?
“That 10% is what I talk about in the book. The flight that takes us to another and then necessarily to the ground. The ‘days of madness’, in which you take the children out of the classroom so as not to teach them chemistry, geography or Latin, but to explain to them what man is like. Those in which you lead them to the great house of humanism, made up of rooms connected to each other because it is natural to inhabit them all. and valid spiritual “.
Does the training offered by the Italian school today follow this line or not?
“No, it is no longer in this line. Because times have changed and there is a great urgency to learn the techniques, without knowing the bases of history and thought. You learn how to fight a virus or how to build a bridge, but then you don’t know how to place that virus or that bridge within the history of man. In short, we know how, but not why “.
Going back to Dad and the rise in infections, in your opinion, was reopening schools a necessity or recklessness?
“It was an ethical, logical or rather mandatory, I would say. The school staff did a great job this summer, trying every possible way to retake the lessons in person. You could not give up a priori, because the school is not looking to one The school is not made of matter, but of people. And finally someone understood it. So the attempt of the Ministry to restore a normal life was successful “.
What opinion has been made of the handling of the pandemic?
“In my opinion, we are not in the hands of reckless people, but of people who monitor the situation and take action accordingly. People who may have made mistakes, but have tried to face the facts as best they could. I am convinced that different political forces might have made different mistakes, but they would have made them anyway, because in such circumstances it is in the logic of things.
In everyday life, does the teacher or the composer need more credibility?
“A teacher must necessarily be credible, while the composer can be a little less, because in artistic expression there is always a bit of emphasis and therefore a touch of fiction.”
You say that culture is not knowing, but seeking. What did you look for in this leap year that couldn’t have been more leap? And what did you find?
“I think almost everyone has tried to get to know each other a little better. When we are in a hurry there is no time to wonder who we really are. The pandemic, instead, has left us this time.” landing ‘is also the result of this newfound introspection, composed of sweet but also horrendous memories, of friends you have betrayed, of people you have made suffer. For example, I looked for a person to apologize after forty years. “
San Siro, fog and lights. What changed half a century later?
Practically everything. However, the holy place remains; my Lares and my Penates, as the Romans said, are in Milan. And the symbols that protect people’s lives with their strength do not fall off. I don’t want them thrown away. down the stadium, they already did it with the racetrack and I felt tremendous pain. I consider myself a decadent romantic, so for me, that primitive joy is always alive. “
On the occasion of the fortieth anniversary, he has republished a fragment of his life as ‘Montecristo’.
“I’m happy because it is an album that I loved very much, even though it tells the tragic story of the end of a love: that of my first wife. ‘Montecristo’ is an album in which friends like Finardi, Venditti, Dalla, told the trick that I use on all my albums: try not to be recognized ”.
Have you ever been tempted to say ‘enough, like Guccini or Fossati did?
“No, never. But I understand them both. Once De André told me a dark and terrible phrase: you don’t die as long as you have something to say. Unfortunately, it was not his case, but as long as Fossati continues to write songs and novels by Guccini. When we arrive at Campiello we can only be happy to be able to enjoy so much good ”.
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