Borodin Alexandr

(St. Petersburg, November 12, 1833 - February 27, 1887)

A born musician, at the age of nine, he composed his first pieces for the piano. However, to obey his maternal will, he enrolled in the medical faculty, graduating very young: at 28, he was a professor of chemistry at the Petersburg Academy of Medicine. He devoted himself to chemistry, which was his primary profession (and in this field, he had great merits, still remembered today by chemistry scholars of the USSR). Still, he always cultivated music with great love: his acquaintance with Mussorgsky seriously oriented him in the musical field, so much so that he soon enthusiastically joined Balakirev's initiative - the Group of Five - becoming a combative exponent of the new Russian national school. He was president of a musical society in Petersburg; he went to Germany, where he became a great friend of Liszt, then to Belgium, and was in the height of his activity, surrounded by the admiration of the whole progressive musical environment of at Tsarist Russia, when his death for aneurysm he caught him during a costume party he had organized in his luxurious home.

Borodin was an instinctive musician but also seriously committed as an intellectual and an innovator. He immediately understood the importance of the Balakirevian reform. He brought to it the impetuous contribution of a lively imagination, which saw in the enhancement of famous musical heritage a new and prosperous path open to the development of national music. He felt the charm of the East (he was the natural son of the descendant of a king of Imerezia in the Caucasus)famous. Still, he was too cultured and modern man not to feel also attracted by the culture of Western Russia and Europe. In his music, he thus merged the two worlds, creating colorful pages in which the aspiration to the music tune of a new character is resolved broadly, giving the right of citizenship to the most distant and contrasting influences. His lyricism is warm, at times disturbing, his palette rich in colors, and his orchestra among the most romantic and passionate of the 19th century. His scientific mentality also helped him musically. He seriously studied the musical folklore of the Russian East as an ethnomusicologist, capturing the tastiest juices that he could transfer into his music without betraying it, elevating them to an authentic expression of art. His rhythms can be overwhelming, and Prince Igor, to whom he dedicated much of his life, is one of the most successful and happy Russian national works of the 19th century.

In the symphonic field, he composed 3 symphonies (the last unfinished) and a famous symphonic sketch, In the Steppes of Central Asia.

According to Stassov, the famous art critic who was also Borodin's first biographer, the musician would have thought of this Symphony in a programmatic sense: the first movement should have represented a gathering of Russian warriors, the third the figure of an ancient Russian singer and the last a festive scene to the sound of gusli, amid the joy of a great mass of people.

Consequently, Stassov called this Symphony heroic, and it cannot be denied that this adjective better captures the overall composition's character. The air of this music is primarily bold and virile: it does not lack passionate and lyrical terni, but the developments are dense and dramatic. Undoubtedly it is a more complete and comprehensive work than the previous one, and it has rightly remained among the most famous works, particularly of the Russian composer. It is a more complete and comprehensive work than the previous one, and it has rightly remained among the most particular works, mainly.

The first movement is an Allegro-Animato molto, the second a Scherzo in Prestissimo (in the singular time of 1/1, that is a whole!) The third is an Andante in the foreign key with a lyrical central episode (Allegretto in 6/4). Of D flat major, the last a truly grandiose Finale in 3/4, full of imagination and admirable rhythmic and instrumental effects.

Borodin Alexandr

 (San Pietroburgo, 12 novembre 1833 – 27 febbraio 1887)

Musicista nato, a nove anni componeva i primi pezzettini per pianoforte. Tuttavia per obbedire alla volontà materna si iscrisse alla facoltà di medicina, laureandosi giovanissimo: a 28 anni era professore di chimica all'Accademia di Medicina di Pietroburgo. Si dedicò alla chimica, che era la sua professione principale (e in questo campo ebbe dei meriti grandissimi, ancor oggi ricordati dagli studiosi di chimica dell'URSS) ma coltivò sempre con grande amore la musica: la conoscenza con Mussorgski lo orientò seriamente in campo musicale, tanto che ben presto aderi entusiasticamente all'iniziativa di Balakirev - il Gruppo dei Cinque - divenendo un battagliero esponente della nuova scuola nazionale russa. Fu presidente di una società musicale di Pietroburgo, si recò in Germania dove divenne grande amico di Liszt, poi in Belgio, ed era nel pieno della sua attività, circondato dall'ammirazione di tutto l'ambiente musicale progressivo della Russia zarista, quando la morte per aneurisma lo colse durante una festa in costume che aveva organizzato nella propria sontuosa dimora.

Borodin fu musicista istintivo ma anche impegnato seriamente come intellettuale e come novatore. Comprese subito l'importanza della riforma balakireviana, e vi recò il contributo impetuoso di una fantasia viva, che vedeva nella valorizzazione del patrimonio musicale popolare una via nuova e ricchissima aperta allo sviluppo di una musica nazionale. Senti moltissimo il fascino dell'oriente (era figlio naturale del discendente di un re d'Imerezia nel Caucaso), ma era uomo troppo colto e moderno per non sentirsi anche attratto dalla cultura della Russia occidentale e dell'Europa. Nella sua musica fuse così i due mondi, creando pagine colorite in cui l'aspirazione a una musica di carattere nuovo è risolta in senso assai ampio, dando diritto di cittadinanza agli influssi più lontani e contrastanti. Il suo lirismo è caldo, a volte conturbante, la sua tavolozza ricca di colori, la sua orchestra tra le più romantiche e appassionate dell'800. La sua mentalità scientifica lo aiutò anche musicalmente, nel senso che egli studiò con serietà di etnomusicologo il folclore musicale dell'oriente russo, cogliendone i succhi più gustosi che seppe trasferire nella sua musica senza tradirli, anzi elevandoli ad autentica espressione d'arte. I suoi ritmi sanno essere travolgenti, e il Principe Igor, a cui dedicò tanta parte dell'esistenza, è tra le opere nazionali dell'800 russo più riuscite e felici.

In campo sinfonico, compose 3 sinfonie (l'ultima incompiuta) e un popolare schizzo sinfonico, Nelle steppe dell'Asia centrale.

Stando a quanto riferisce Stassov, il famoso critico d'arte che fu anche il primo biografo di Borodin, il musicista avrebbe pensato a questa Sinfonia in senso programmatico: il primo tempo avrebbe dovuto rappresentare un'adunata di guerrieri russi, il terzo la figura di un antico cantore russo e l'ultimo una scena festosa al suono dei gusli, tra la letizia di una grandiosa massa di popolo.

In conseguenza lo stesso Stassov denominò questa Sinfonia l'eroica, e non si può negare che questo aggettivo colga piùttosto bene il carattere dell'ampia composizione. Il piglio di questa musica è per lo più baldanzoso e virile: non manca di terni appassionati e lirici, ma gli sviluppi sono densi e drammatici. Indubbiamente è un'opera più compiuta ed esauriente della precedente, ed è giustamente rimasta tra i lavori più popolari del compositore russo.

Il primo tempo è un  Allegro-Animato assai, il secondo uno Scherzo in Prestissirno (nel singolare tempo di 1/1, cioè un intero!) con un lirico episodio centrale (Allegretto in 6/4), il terzo un Andante nella tonalità lontana di re bemolle maggiore, l'ultimo un Finale in 3/4 veramente grandioso, pieno di fantasia e di mirabili effetti ritmici e strumentali. 

Borodin Alexandr

(St. Petersburg, 12. November 1833 - 27. Februar 1887)

Als Musiker geboren, komponierte er im Alter von neun Jahren die ersten Stücke für Klavier. Um jedoch seinem mütterlichen Willen zu gehorchen, schrieb er sich an der medizinischen Fakultät ein und schloss sein Studium sehr jung ab: Mit 28 Jahren war er Professor für Chemie an der Petersburger Akademie für Medizin. Er widmete sich der Chemie, die sein Hauptberuf war (und auf diesem Gebiet hatte er große Verdienste, an die sich die Chemiegelehrten der UdSSR noch heute erinnern), aber er pflegte die Musik immer mit großer Liebe: Seine Bekanntschaft mit Mussorgski orientierte ihn ernsthaft auf diesem Gebiet musikalisch, so sehr, dass er sich bald begeistert Balakirevs Initiative – der Gruppe der Fünf – anschloss und ein kämpferischer Exponent der neuen russischen Nationalschule wurde. Er war Präsident einer Musikgesellschaft in Petersburg, er ging nach Deutschland, wo er ein großer Freund von Liszt wurde, dann nach Belgien, und war auf dem Höhepunkt seiner Tätigkeit, umgeben von der Bewunderung der gesamten fortschrittlichen musikalischen Umgebung des zaristischen Russlands, Als er an einem Aneurysma starb, erwischte er ihn während einer Kostümparty, die er in seinem prächtigen Haus organisiert hatte.

Borodin war ein instinktiver Musiker, aber auch als Intellektueller und als Innovator ernsthaft engagiert. Er verstand sofort die Bedeutung der balakirevischen Reform und trug dazu den ungestümen Beitrag einer lebhaften Vorstellungskraft bei, die in der Verbesserung des populären musikalischen Erbes einen neuen und sehr reichen Weg sah, der für die Entwicklung der nationalen Musik offen war. Er spürt sehr den Charme des Ostens (er war der leibliche Sohn des Nachkommen eines Königs von Imerezia im Kaukasus), aber er war zu kultiviert und modern, um sich nicht von der Kultur Westrusslands und Europas angezogen zu fühlen. In seiner Musik verschmolz er auf diese Weise die beiden Welten und schuf farbenfrohe Seiten, in denen sich das Streben nach Musik eines neuen Charakters in einem sehr weiten Sinne auflöst und den entferntesten und gegensätzlichsten Einflüssen das Bürgerrecht einräumte. Seine Lyrik ist warm, manchmal verstörend, seine Palette reich an Farben, sein Orchester gehört zu den romantischsten und leidenschaftlichsten des 19. Jahrhunderts. Seine wissenschaftliche Mentalität half ihm auch musikalisch, insofern er sich als Ethnomusikologe ernsthaft mit der musikalischen Folklore des russischen Ostens beschäftigte, die köstlichsten Säfte einfing, die er in seine Musik zu übertragen verstand, ohne sie zu verraten, ja zu einem authentischen Ausdruck der Kunst erhob. Seine Rhythmen können überwältigend sein, und Prinz Igor, dem er so viel Zeit seines Lebens gewidmet hat, gehört zu den erfolgreichsten und glücklichsten nationalen Werken des 19. Jahrhunderts in Russland.

Im symphonischen Bereich komponierte er 3 Sinfonien (die letzte unvollendet) und eine populäre symphonische Skizze, In the steppes of Central Asia.

Laut Stassov, dem berühmten Kunstkritiker und Borodins ersten Biographen, hätte der Musiker diese Symphonie in einem programmatischen Sinne gedacht: Der erste Satz hätte eine Versammlung russischer Krieger darstellen sollen, der dritte die Figur eines altrussischen Sängers und das letzte eine festliche Szene zu Gusli-Klängen, inmitten der Freude einer großen Volksmenge.

Stassov selbst nannte diese Symphonie daher die heroische, und es ist nicht zu leugnen, dass dieses Adjektiv den Charakter der umfangreichen Komposition besser trifft. Die Luft dieser Musik ist meist kühn und männlich: Es fehlt ihr nicht an leidenschaftlichen und lyrischen Terni, aber die Entwicklungen sind dicht und dramatisch. Zweifellos ist es ein vollständigeres und umfassenderes Werk als das vorherige, und es gehört zu Recht zu den beliebtesten Werken des russischen Komponisten.

Der erste Satz ist ein Allegro-molto Animato, der zweite ein Scherzo in Prestissimo (im Einzeltakt 1/1, das ist ein Ganzes!) mit lyrischer Mittelepisode (Allegretto im 6/4), der dritte ein Andante in die ferne Tonart Des-Dur, das letzte ein wirklich grandioses Finale im 3/4-Takt, voller Fantasie und bewundernswerter rhythmischer und instrumentaler Effekte.

Autism from a Different Perspective - by Giovanni Tommasini and Maria Teresa De Donato - The WWWITALIA review

 Autism from a Different Perspective

by Giovanni Tommasini and Maria Teresa De Donato

The WWWITALIA review

 

Autism from a different perspective. Far from a manual on neurodevelopmental disorders linked to autism spectrum disorders, nothing technical in the book that Giovanni Tommasini and Maria Teresa De Donato pay tribute to the success of Cesare, which subtitles the publication.  Instead, it is the narration of an encounter between the inexperienced educator and a beautiful child prisoner of a cage that relegates him to the sidelines, written on the tip of the heart.  In the search for the door to enter the world of Caesar, John will put himself, his world, and his history into play, finding himself making a journey in his own experience and in the value of what surrounds him. The declared unpreparedness of the educator, who will later make his profession and his life from this experience, will prove to be a winning weapon in the relationship that will be established between man and child. At the same time, sensitivity and respect for Caesar's uniqueness will be the key that the child will use to gain some freedom and a certain autonomy concerning the other, coding a language to get in touch with the outside world. A fight for freedom that the two protagonists of this beautiful story fight together, discovering friendship, respect, and love.

 

The stitching is delivered to the story by the skillful pen of Maria Teresa De Donato, with which the writer analyzes and underlines the salient passages of the narration, allowing valuable reflections to the reader.

 

I found the story steeped in the humanity of simple waiting, deafening silence, and respect for the other's times. I highly recommend reading it to address autism from a decidedly different perspective.

 

Eleonora Davide, Journalist, Director

 

L’AUTISMO visto da una PROSPETTIVA DIVERSA - di Giovanni Tommasini e Maria Teresa De Donato - La recensione di WWWITALIA

 L’AUTISMO visto da una PROSPETTIVA DIVERSA

di Giovanni Tommasini e Maria Teresa De Donato

La recensione di WWWITALIA

 

 

L’autismo visto da una prospettiva diversa. Tutt’altro che un manuale sul disturbo del neuro sviluppo collegato ai disturbi dello spettro autistico, niente di tecnico nel libro che Giovanni Tommasini e Maria Teresa De Donato tributano al Successo di Cesare, che sottotitola la pubblicazione. Piuttosto si tratta della narrazione di un incontro, tra l’inesperto educatore e un bambino bellissimo prigioniero di una gabbia che lo relega in disparte, scritta in punta di cuore. Nella ricerca della porta per entrare nel mondo di Cesare, Giovanni metterà in gioco se stesso, il suo mondo e la sua storia, ritrovandosi a compiere un cammino nel proprio vissuto e nel valore di ciò che lo circonda. La dichiarata impreparazione dell’educatore, che poi di questa esperienza farà la sua professione e la sua vita, si rivelerà un’arma vincente nel rapporto che andrà a instaurarsi tra l’uomo e il bambino. Così come la sensibilità e il rispetto dell’unicità di Cesare saranno la chiave che il bambino userà per conquistare un po’ di libertà e una certa autonomia nelle relazioni con l’altro, codificando un linguaggio per entrare in contatto con l’esterno. Una lotta per la libertà quella che i due protagonisti di questa bella storia combattono insieme, scoprendo l’amicizia, il rispetto e l’amore.

 

Puntuali le impuntature consegnate al racconto dalla sapiente penna di Maria Teresa De Donato, con le quali la scrittrice analizza e sottolinea i passaggi salienti della narrazione, consentendo utili riflessioni al lettore.

Ho trovato il racconto intriso di una umanità fatta di semplice attesa, assordante silenzio, rispetto dei tempi dell’altro. Ne consiglio caldamente la lettura per affrontare il discorso dell’autismo da una prospettiva decisamente diversa.

 

Eleonora Davide, Giornalista, Direttore Editoriale

AUTISMUS aus einer anderen Perspektive gesehen - von Giovanni Tommasini und Maria Teresa De Donato - Die WWWITALIA-Rezension

 AUTISMUS aus einer anderen Perspektive gesehen

von Giovanni Tommasini und Maria Teresa De Donato

Die WWWITALIA-Rezension

 

Autismus aus einer anderen Perspektive gesehen. Weit entfernt von einem Handbuch über neurologische Entwicklungsstörungen im Zusammenhang mit Autismus-Spektrum-Störungen, nichts Technisches in dem Buch, das Giovanni Tommasini und Maria Teresa De Donato dem Erfolg von Cesare würdigen, das die Veröffentlichung untertitelt. Vielmehr ist es die Erzählung einer Begegnung zwischen dem unerfahrenen Erzieher und einem schönen Kindergefangenen eines Käfigs, der ihn ins Abseits drängt, ins Herz geschrieben. Auf der Suche nach der Tür, um in die Welt von Cesare einzutreten, wird Giovanni sich selbst, seine Welt und seine Geschichte aufs Spiel setzen und dabei feststellen, dass er eine Reise in seine eigene Erfahrung und in den Wert dessen macht, was ihn umgibt. Die erklärte Unvorbereitetheit des Erziehers, der später aus dieser Erfahrung seinen Beruf und sein Leben machen wird, wird sich als eine siegreiche Waffe in der Beziehung erweisen, die zwischen Mann und Kind hergestellt wird. So wie die Sensibilität und der Respekt für Cesares Einzigartigkeit der Schlüssel sein werden, den das Kind benutzen wird, um eine gewisse Freiheit und eine gewisse Autonomie in den Beziehungen zu anderen zu erlangen, indem es eine Sprache kodiert, um mit der Außenwelt in Kontakt zu treten. Ein Kampf um die Freiheit, den die beiden Protagonisten dieser wunderschönen Geschichte gemeinsam bestreiten und dabei Freundschaft, Respekt und Liebe entdecken.

Die Naht, die das geschickte Stift von Maria Teresa De Donato an die Geschichte geliefert wurde, mit der die Autorin die herausragenden Passagen der Erzählung analysiert und unterstreicht und dem Leser nützliche Reflexionen ermöglicht.

Ich fand die Geschichte durchdrungen von einer Menschlichkeit, die aus einfachem Warten, ohrenbetäubender Stille und Respekt vor der Zeit des anderen besteht. Ich empfehle dringend, es zu lesen, um Autismus aus einer entschieden anderen Perspektive zu behandeln.

 

 

Eleonora Davide, Journalistin, Direktorin 

They Call Me Cancer - A Story of Rebirth with Serena Derea Squanquerillo - Interview by Maria Teresa De Donato

 They Call Me Cancer - A story of rebirth

with Serena Derea Squanquerillo

 

Interview by Maria Teresa De Donato

Dear friends,

Today I am pleased to host my friend and colleague, author and blogger Serena Derea Squanquerillo, whom we will be able to meet and get to know better on other occasions. I only anticipate that, in terms of strength of character, determination, and desire to help others, Serena has a lot to teach. There are so many things I could tell you about her, but, as usual, I prefer my guest to do it.

 

MTDD: Hi, Serena, and welcome to my Blog and Virtual Cultural Lounge.

 

SDS: Hi Maria Teresa, thank you for inviting me to this beautiful sharing. I'm very excited. Greetings to all readers and readers!

 

 

MTDD: Serena, why don't you start by introducing yourself, telling us a little about yourself, your studies, your activities, and everything you want to share with our readers?

 

SDS: Certainly. I was born in 1980 in Velletri, in the southern province of Rome, where I still live. I graduated from the classical high school in my city in 1999, but then, I followed more technical training in computer science and graphics for some of my needs. I started working in this field at 24, although I also worked as a secretary and in customer service for a well-known American company. For a few years, I worked as a self-employed person in a company that deals with communication and services, created together with some friends. In 2016 I left my job following essential changes in my life, such as my father's death and the need to process the legacy left by the first breast cancer I had. Unfortunately, he came back last year, but I got over that too. I am a person who periodically monitors, and I do not hesitate to ask for help.

 

Following these events, I needed to care for myself and understand what had happened. I started a spiritual path to get to know myself better, parallel with a healing direction of bereavement assistance I followed two years ago, not only for my father's death but also for the loss of parts of me, which occurred over time. Over the years, I have had health problems several times. During this personal research or relatively continuous rediscovery, I found my talents and new possibilities of living which today I am reaping sweet fruits. I have several satisfactions both for the activities alone and in collaboration.

 

 

MTDD: Life is an extraordinary thing, full of surprises, sometimes beautiful, sometimes beautiful, sometimes ugly, and even terrible. It is useless to understand the reason because it likely does not exist or escapes us. With some people, it seems to be more forgiving, and with others, tougher. This, at least, could be our perception.

 

In one of your writings, I read:

 

"I arrived on January 14, 2012, and learned it was his 32nd birthday. I saw her blowing the candle on her favorite cake: a cream and chocolate millefeuille ... As if it were a gift, I chose to postpone my official presentation for a few days ..."

 

To this day, most people are often afraid to pronounce this word - Cancer - almost as if they want to exorcise even a remote possibility ...

Knowing you and having discussed with you about health on other occasions, I feel free to talk with you about this matter, aware of your availability and, above all, of how and to what extent you are busy helping and encouraging people who deal with this disease.

 

Would you like to tell us about your experience and how you lived it all?

 

SDS: Yes. I make a premise. As I said, I had many health problems: depression, panic attacks, eating disorders - fortunately not serious - endometriosis problems until I came to experience cancer. Before, I never spoke openly about my situation because I did not feel the need and wanted to keep it private. Something inside of me, however, changed. When the Cancer "showed up," I reviewed in front of me everything that had happened to me up to then. Fortunately, I did not have a problematic tumor, neither the first nor the second time.

 

On the contrary, the interventions and treatments that gave me various problems were more invasive, but it is certainly never an easy and light situation. It was a slaughter game facilitated by my severe lack of love for myself. It's like life has taken me aside and given me an either-or. I made myself strong and courageous to face this stranger. From that moment on, I started sharing what I felt at first in ANDOS (National Association for Breast Operated Women), where I received support and still belong as a volunteer whenever I have the chance. Finally, I wrote this story which was published in a collection for charity. Then it was distributed on two portals of Italian doctors and psychologists as a testimony of life.

 

 

MTDD: As a Naturopath and Homeopath, through my academic studies, but also and, above all, through interviews and consultations, I have tried to understand better and identify the potential dynamics that favor health and well-being and, consequently, healing, and those that on the contrary, they appear to promote symptoms and disease and, at times, hinder recovery.

I was, therefore, particularly struck by one of your statements that I always found in your previously mentioned paper:

 

"Serena is a girl who lives in a constant sense of inadequacy and fear of expressing her feelings and her creativity. The fear is that of not being held up to par. "

           

These are very profound, almost hurtful words.

 

Would you like to elaborate on these concepts?

 

SDS: Until recently, I loved myself very little. I was insecure, introverted, and busy, but I felt like I was living an inauthentic life. I felt like an alien. Dropping out of university failed me because I saw my teenage projects blown up. I couldn't study because I had to give up. I was struggling because I had a "different" learning method - as I later understood. I felt stupid.

 

Then, thanks to the support of my parents and a psychologist, I chose other paths that gave me satisfaction but were not enough. I realize that what I am about to say is difficult to hear; there was a period of depression in which, when I thought about the future possibility of starting a family with children, I told myself that the only thing that it could have grown in me it would have been a tumor ... Obviously the causes of illnesses could be many. Still, I am convinced of the importance of the quality of thoughts and words with which we program ourselves. My sense of inadequacy has implanted in me the fear of the judgment of others. I had the most ruthless judge in front of me when I looked in the mirror.

 

 

MTDD: The 'positive' note is that, by your admission, although your "Personal love [was] equal to zero ... despite the falls, insecurities, and fear, [you] always got up with strength and courage."

 

Many people confronted with cancer have said that this experience was the most powerful life lesson for them and helped them change for the better.

 

Do you agree with this view, and if so, why?

 

SDS: Yes! I can genuinely say that, paradoxically, that experience saved me from destruction. I did not allow that situation to let me give up everything: either I continued to fall into the abyss, or I went up and chose to live with love and conscience. I have embraced the second option. I have chosen life.

 

 

MTDD: Whatever your limitations have been in the past - by your admission - your willpower, determination, and awareness of your worth make you merit. To all this, a spiritual path has been added that you have taken to better connect to the 'real Serena' and, probably, also go to compare, by removing them, those aspects that were in your "shadow," to use the language of Carl Jung, famous psychiatrist, and psychoanalyst.

 

Would you like to tell us about it?

 

SDS: The self-knowledge path helped me become aware of my deep feelings. My shadow was the beauty of what was yet to come, but it was being smothered. I faced the demons who, until then, had feasted in the shadows, but when I paid attention to them, I discovered that they had screamed to be heard. I found that behind those obstacles were hidden treasures and parts of me that I needed to integrate into the puzzle of my identity. Indeed I still have to work in this sense, but thanks to the practical tools I have acquired on this spiritual path, I have learned to harmonize and understand my actual needs. I came into deep contact with the 'real Serena.'

 

 

MTDD: Due to this path of the disease and the consequent awareness and rebirth, you felt the need not only to share your experience but to do so in a way that supports those who face cancer and disease in general and might feel completely lost and even misunderstood.

 

Art, in any form, can be a means to be used for therapeutic purposes.

This year, you conducted a program – Living Your Talents - Stories of Personal Rebirth - with the Phoebus Association, of which you were the creator and host.

I'd love for you to tell me about it. It could be advantageous to our reading and reading audience.

 

SDS: In 2019, I began to pour these life testimonies into a personal blog, up to - to my surprise - the publication of three monographic books. I began to create artistic collaborations always to leave a message of encouragement to take care of oneself and to live one's talents first and foremost as a form of expression for one's well-being.

 

In July, I received an interview from the Phoebus Cultural Association, in which I talked about my experience of personal redemption thanks to my talents. Hence,  ​​creating a space would allow others to do the same with the team. I find it essential to share my personal story because it can be beneficial and help many. Besides, since it is a real-life story, the message is recognized as authentic. Finally, friendships and collaborations can also arise from these comparisons, as in our case, Maria Teresa. Thanks to your participation in "Vivere I Talenti," we met and started building this bridge of initiatives together. I am happy and grateful.

 

 

MTDD: Thank you, Serena, for participating in this interview and for being open and sharing very personal and delicate aspects of your life, which is difficult for some people to do.

 

I will be happy to host you again in the future to be able to talk with you about other interesting topics. Therefore, I wish you all the best with your health and the success you deserve in all your activities.

 

SDS: And I will be glad to be there! Thank you for this opportunity, Maria Teresa. I sincerely reciprocate the good wishes.

 

 

MTDD: Before concluding, who wants to contact or follow you in your activities? How can they do it?

 

SDS: They can follow me on my blog, https://www.dereasblog.cloud, where there is a link to the Youtube channel and on the Facebook page "La Magica Danza Dei Talenti." For those wishing to write to me, there is also the email derea.serena@gmail.com.

 

 

MTDD: Thanks again for participating.

 

SDS: Thank you. Thanks to the readers for paying attention to this part of my story. It can be of help and inspiration to someone. See you soon!