Enea is one of the cheesemakers to whom I take my guests.
He lives on a farm at the end of a dirt road that runs along the top of a ridge. At the point where the tarmac runs out, there’s a vineyard. Bumping slowly along the rutted road you pass a house, then nothing for 10 minutes. As the nose of the ridge begins to dip toward the valley, you spy a ramshackle house with solar panels on the roof. If you come in July, you’ll think you’ve arrived at a farm machine museum until you see Enea putting his heritage wheat through the vintage thresher.
Enea and his wife Valeria are nearly self-sufficient. They have a herd of goats, two cows, a few chickens, a couple of horses, a vegetable garden, an olive grove and fields of cereals and hay. They’re hoping for another cow.
During the spring and summer Enea milks the goats every morning, makes cheese with their milk and then, with the help of his working dogs, takes them out to graze. The dogs are tri-lingual. I don’t think the goats are. On days when we’re there and he doesn’t go out with them in the morning, their complaints are perfectly comprehensible nonetheless.
On Wednesdays he makes sourdough bread. His bread shed contains a wood-fired oven and a tiny mill where he grinds enough of his heritage wheat for the week’s batch of bread. On Wednesday evenings he goes to town to deliver his produce to a group of friends who buy collectively
They’re self-sufficient for art and music too. Valeria paints and Enea plays the guitar. The solar panels and batteries keep them in touch with the outside world via their cell phones, computer and internet connection.
One of the guests in the last group I took there asked Enea why he chose to make cheese. He told us this story:
‘When I finished school, I knew I didn’t want to go to university, but I didn’t know what I wanted to do. I enjoyed helping a friend pick his olives. Then I rented an apartment from a cheesemaker with goats. He was French and made French-style soft goat cheese. I watched him and began to help him. I saw he was always smiling, and I decided that was the life I wanted.’
Enea is one of the cheesemakers who teaches our course Theory and Practice of Italian Cheese. Details at: http://www.sapori-e-saperi.com/courses_with_artisan/theory-practice-of-italian-cheese/.
‘Relax!’ is a command to me as a tour organiser and to you as a traveller. There’s no way you can see everything, so we may as well leave time to rest, absorb and enjoy. My favourite way to wind down is to go to a village festival, called a sagra. It’s impossible not to relax, while at the same time soaking in the local culture.
The village of Cascio is top of my list for an experience without deadlines. I’ve already written about its wood-fired oven sagra in spring (http://slowtraveltours.com/blog/a-feast-from-wood-fired-ovens/). At the end of July and early August the village puts on its equally relaxing Sagra delle Crisciolette. See below for a note about the criscioletta. Right now, we’re going to the sagra.
Just click here to take you to the Slow Travel Tours website for your anti-stress therapy (and to find out what a criscioletta is): http://slowtraveltours.com/blog/relax/
This is a true story about how cheese, history and a mountain village are inextricably entwined. It’s a long story because it goes back to Roman times. It has taken me 12 years even to begin to understand it.
You probably know that pecorino is an Italian cheese made from sheep’s milk, derived from the word for sheep: pecora. On the contrary, it’s the rare person outside Italy who knows that transhumance refers to the seasonal rotation of flocks and herds between different pastures. Even more obscure is the connection between transhumance and Saint Michael Archangel.
On 18 June a group of about 15 hikers, including me, stand expectantly in front of the church in the mountain village of Raggiolo, one of ‘The most beautiful towns in Italy’ (http://borghipiubelliditalia.it/project/raggiolo/).
We aren’t waiting for the Archangel, but for our guide Paolo Schiatti to lead us along an ancient transhumance route to a former shepherd’s hut on the crest of the mountain above Raggiolo where we get to watch pecorino and ricotta making and have a shepherd’s lunch. I’ve watched many shepherds make cheese, and I wonder whether here near Pratomagno in the Casentino (east of Florence) they make it in the same way as in the Garfagnana.
We learn from Paolo that the patron saint of shepherds is Saint Michael Archangel, but in Roman times the half-god, half-human Hercules was the favourite of pastoralists. According to Roman mythology he slew the fire-breathing monster Cacus who stole some of the cattle which he himself had stolen and was pasturing near Cacus’s cave. By one of those frequent transpositions of early Christianity, Hercules became the Archangel. In the New Testament Saint Michael defeats Satan to become a protector against the forces of evil.
Two feast days a year are devoted to the Archangel: 8 May and 29 September. In early May the shepherds took their flocks up to the alpine pastures. At the end of September they brought them down. From early mediaeval times they built shrines to Saint Michael along the transhumance routes. In the days when they wintered on the Maremma, the coastal plain of Tuscany, it took a whole week to walk to the alpine pastures above Raggiolo. We’re lucky we only have a 3-hour walk ahead of us, and no sheep.
The conversation about the Archangel might seem a distraction to a secular cheese lover wanting to know how Tuscan pecorino is made. Yet in Italy food and history are two facets of a common culture. The past spices the cuisine of today, and you can taste the difference between an industrial product made according to scientific principles and a traditional product made according to practices handed down through the generations.
Paolo’s way of encouraging us is to say, ‘Siamo arrivati’ (we’ve arrived) when we still have over an hour of the steepest part of the trail to go. At around 1000 m (3280 ft) we pass suddenly from the chestnut wood into a beech forest. The muffled silence might remind you of a sanctuary. To me it seems dead compared to the luxuriant undergrowth of a chestnut wood.
Casetta di Bùite
I always tell my guests that cheese waits for no man or woman. We’ve dallied too long. The cheesemakers, Angelo and Dino Luddi, have already added the rennet to coagulate the curd. Nowadays they use veal rennet which they buy from the pharmacy. They don’t lament the change from lamb’s rennet which they prepared themselves from a lamb’s stomach, even though the pecorino is less piquant.
They cut the curd using a wooden spino, an implement of the past. They use it not out of nostalgia but because it works well for the type of hard paste cheese they’re making. If there’s something modern that works better or is more convenient, they’re quick to adopt it, like the veal rennet. The past isn’t a prison.
Dino’s job is pressing as much whey as possible from the curd.
As we explain during our cheese course, in Italy where it was born, ricotta is NOT cheese. That’s official. It’s a dairy product. The casein proteins and much of the fat in the milk go into the cheese. The main protein left in the whey is albumin. The protein in egg white is also albumin. When you cook egg white, it solidifies, and that’s what happens to the albumin in whey when it gets to about 90˚C (194˚F).
With two large pots of whey to heat, this is going to take a little while. We suddenly realise we’re starving, and wander off to find some lunch. The courses are ready in random order stretched out over three hours. Actually, most Tuscan Sunday lunches last this long. What I take to be antipasto consists of panini of prosciutto and salami with two wedges of pecorino on the side, all excellent. The pecorino has been supplied by Modesto Giovannuzzi. He tells me the sheep are at Castel Focognano (near Bibbiena), but doesn’t volunteer who made the cheese.
I buy a wheel for the pecorino tournament at the end of our cheese course.
I check in with the ricotta. It hasn’t begun forming yet, but Angelo is adding some milk to the pot. I object that traditional ricotta shouldn’t have milk added. He agrees. He’s doing it to increase the yield for the big crowd today. He adds quietly,’The ricotta is much finer and smoother with nothing added to the whey.’ He moves over to salt the upper side of the pecorino.
Besides adding flavour, the salt slows down the lactic acid bacteria so the cheese doesn’t become too acidic and also helps draw whey out of the cheese—essential if you want to mature it for several months.
Around the corner of the hut, Modesto and his son Andrea are now busy making polenta dolce, a porridge made with chestnut flour instead of cornmeal. It saved the people of the mountains, the Garfagnana as well Pratomagno, from starvation during the Second World War. Some people never want to eat it again, but for most it’s the ultimate comfort food.
Drying the chestnuts, shelling them, sorting them and milling them is a winter occupation. You collect them after you’ve made your wine and before you begin harvesting your olives. In the days when the olive harvest took place at the end of November or even in December, your chestnut flour was already safely stowed in its chestnut-wood chests.
A sudden commotion back around the corner signals that the ricotta strands are forming.
Someone asks what the yield of ricotta is. Angelo doesn’t know, and I reply that for sheep’s milk it’s about 1.5%, but only half that for cow’s milk. Angelo says to me, almost accusingly, ‘You know the science, but we know the practice.’ He’s right. You could read every book about cheese and still not be able to make good cheese and ricotta. It’s the experience that counts, going back to your mother, uncle, grandmother, great-grandfather, and right back to your Roman ancestors and Hercules.
You could fill a small cookbook with the Tuscan recipes for stale bread: zuppa, panzanella, pappa al pomodoro, aqua cotta to name just a few; and scottina, a shepherd’s dish. After skimming off the ricotta, the remaining liquid is called scotta. Around me it’s mostly fed to the farm animals, although some people say it’s a refreshing drink and a good broth for soup. To make scottina, you leave some of the ricotta in the scotta and ladle it over the bread.
As we descend Paolo has an answer to every question I can throw at him and more. He tells me about how they preserved the chestnut flour by packing it into chestnut-wood chests to exclude the air. It was so tightly packed that you could cut it into blocks with a knife to take out the amount you needed. By summer it was a bit tired. To refresh it, they put it in a wood-fired oven until it turned dark brown and had an entirely different flavour. The conversation wanders to art history, politics, the problem of depopulation of rural villages like theirs and mine. Most people in the group have something to contribute. They own their history in a way I’ve never encountered outside Italy. Thank you Raggiolo for a thoroughly enjoyable and illuminating day.
You can learn about Tuscan cheese and experience for yourself our cheesemakers’ strong sense of their history on our Theory & Practice of Italian Cheese course: https://www.sapori-e-saperi.com/theory--practice-of-italian-cheese.html
Sant’Antioco is a small island off the southwest coast of the large island of Sardinia, an island squared you might say. It’s afflicted by two winds: the maestrale from the northwest and the levante from the east. One or the other blows nearly every day, but since they take turns, there’s always a calm sea for fishermen (and us) on the leeward side of the island.
On a bright spring morning the fishing boats are tied up to the quay, squeezed in side by side. Too many fishermen chasing too few fish. Many of them augment their income by offering pescaturismo, fishing excursions for tourists. I’m excited. For years I’ve wanted to learn about fishing in the Mediterranean, but it took a long time to find the right place and fisherman.
We arrive at our boat the ‘Alessandro P.’ and the live Alessandro, son of fisherman Mauro Pintus with whom we’re going fishing. Soon Mauro, his wife Roberta and their 14-year-old daughter arrive all lugging groceries. We climb aboard…
Read more about our idyllic day at sea at http://slowtraveltours.com/blog/gone-fishin/
Join us next April for more adventures on our Celebrating Sardinia tour: http://www.sapori-e-saperi.com/small_group_tours/celebrating-sardinia/
It was martedì grasso, Fat Tuesday, the last day of Carnival before Lent, and I was in Oristano in Sardinia. Oristano has celebrated this day for a long time, 552 years to be precise, as the festival Sa Sartiglia. You can imagine that in over more than half a millennium it has accumulated many meanings and observances.
At its most basic and obvious it’s a giostra, a joust like the one at Arezzo with a feat to perform at the end of a charge on horseback. At Sa Sartiglia the horseman (with one or two exceptions they are all men) attempts to insert his lance in a small hole in a star dangling by a thread while galloping at full speed.
At a more fundamental level is the idea of trasvestire. Although our noun ‘transvestite’ derives ultimately from the same Latin root as this Italian verb, don’t be fooled. In Italian the word means simply ‘to disguise’ or ‘to dress up as’ anyone or anything. For Sa Sartiglia, farmers and craftsmen dress up as knights and joust with fate. In the past it was their day of glory in which to display their horsemanship and affirm their equality with the nobility. Wearing their eerie, expressionless white masks, they disguise their wrinkled, bronzed peasant faces.
Still curious about dressing up? Read the rest of the blog at: http://slowtraveltours.com/blog/cross-dressing-in-sardinia/
Even more curious and want to see for yourself? Come with me to Sardinia on my Celebrating Sardinia tour: http://www.sapori-e-saperi.com/small_group_tours/celebrating-sardinia/(click on the tabs below the introduction to see all the details). There’s one place left on this year’s tour from 28 April to 7 May, and in case you like to plan further ahead, dates for 2018 are already there too.
Did you know that olive oil is the only common cooking oil that is the juice of a fruit? All the other oils we use in our kitchen come from seeds: sunflower, rapeseed (canola), peanut and grapeseed. This realisation leads directly to another question. Would you cut an orange, leave it on the counter for a week and then squeeze and drink the juice? Would you step on an apple, leave it on the table for three days and then eat it? Yet that’s what happens to many olives before they’re pressed to extract olive juice.
I’ve tasted and written a lot about olive oil, but this idea had completely escaped me until I met Elisabetta Sebastio last year. She’s a professional olive oil taster both for Italian Chambers of Commerce and international olive oil competitions. We ran our first full-day olive oil class during my Autumn in Tuscany tour in November. It was a revelation for all of us.
Learn more on the Slow Travel Tours website: http://slowtraveltours.com/blog/olive-juice/
What happened to Janet after indulging in artisan food in Tuscany? Here’s the unexpected answer in my latest post on the Slow Travel Tours website: http://slowtraveltours.com/blog/life-changing/
Shortly after she returned home to California I received a WhatsApp message from her which began:
“You have ruined me!!!”
I was worried, but not for long. Read the rest of my blog on the Slow Travel Tours website: http://slowtraveltours.com/blog/life-changing/
The southwestern corner of Sardinia is called Sulcis. The word derives from the Carthaginian city of Solki. This is just one tiny example of the cultural palimpsest that makes up present-day Sardinia. Before the Carthaginians when the Phoenicians began visiting Sardinia in around 900 BCE, they encountered people of the Nuragic civilisation, which originated in about 1800 BCE. The ruins of their gigantic stone towers and settlements still dot the countryside; 7000 of them remain. Hard on the heels of the Carthaginians, the Romans, Vandals, Byzantines, Spaniards, Pisans, Genovese and Piemontese all demanded their turns on the island. It’s no wonder that coming from Italy you feel as if you’ve arrived in a foreign country
But it wasn’t the distant past that drew me to Sardinia. Some of the women coming on my September ‘Tastes & Textiles’ tour wanted to visit a woman who weaves with the fibres of the beard of a giant Mediterranean mollusc, and they asked me to take them. Barely credible, I thought, but her workshop had a website which placed it in the town of Sant’Antioco, on the Island of Sant’Antioco in the territory of Sulcis. Here was the ideal excuse to visit Sardinia, which I knew only from its pecorino sardo cheese and Vermentino wine…
Read about how my adventure in Sardinia led to a new exciting tour: http://slowtraveltours.com/blog/celebrating-sardinia/
Find out more about the tour at: http://www.sapori-e-saperi.com/small_group_tours/celebrating-sardinia/ (click on the tabs below the introduction to see all the details)
Guest blog by Susan Stover, artist and educator
On the eve of the Tastes & Textiles tour, I’m posting Susan Stover’s insights about the power of travel to invigorate one’s creativity. (All photos by Susan Stover.)
Travel can greatly impact an artist’s work. It can influence, be a catalyst for change, or further catapult the journey already started. In the absence of familiar surroundings, it can magnify what captures the eye and the emotions. All is new, exciting, and exhilarating.
Both making art and traveling have opened up new experiences and challenged me in unique ways. There is so much to be inspired by—the atmosphere in the landscape, hues and textures of a traditional market, shrines and temples, and environments of living and creating. I recently returned from my second trip to Indonesia in the last 15 months. As the experiences and inspirations linger in my subconscious, they continue to influence my artwork. My love of textiles was rekindled as a result of these travels. Fabrics abundantly adorn shrines and temples, are used as offerings, typify ceremonial dress, and are displayed as consumer goods. I am inspired not only by the beauty of the fabrics, but also how they function in a society where art, life, and spirituality are all connected. Nowhere is this more evident than in Bali. Concepts of duality, animism, and the desire for harmony between the natural and supernatural worlds are the foundation of Balinese beliefs. My fascination with the connection of art and spirit lies in the mystery, the unanswered questions, the quest for balance and purpose, the desire for connectedness with others and with the sacred, however they choose to define it. Textiles embody these concerns, which are more evident in cultures other than my own.
When traveling, I am conscious of how closely tradition and technology are related. Weaving and dyeing cloth are technologies that have existed for millennia. As a result of the Industrial Revolution, the western world is more removed from these technologies, as most cloth is made in factories. Our direct relationship to the production of fabric and items for survival does not exist. In countries like Indonesia, these traditions are part of cultural identity and there is a sense of pride in the hand making of them. Some of the places in Java and Bali that I visited still produce cloth exactly as it has been done for hundreds of years. The tools and settings of these shops look like they have not changed over the ages, and it was like stepping back in time. It was always surprising to see cell phones in these environments—the juxtaposition of ancient and modern. This is what I am after in my own work—taking something from one arena, bridging the gaps of time and place, and situating it in a new venue.
There is an inherent beauty to the handmade, purposed item that looks old and worn. Often I think of history, what or who came before me, what was left behind, and how we are joined to others by the same activities that keep our hands busy. The rhythmic beating of a loom and the repetitive movements of stitching and stamping can be meditative and calming. There is a satisfaction to this type of labor. Textiles imply an association with human touch and human interaction and I am curious how the maker’s role functions individually and collectively in a community. What interests me is the information that textiles contain, as patterns and techniques encode knowledge from ancestors and tell us much about a culture’s cosmology and development. Perhaps it is my own desire for connection to the larger world that drives me to seek out authentic artisans working in methods that have been handed down from one generation to another.
Throughout the years, my work has incorporated the combination of textiles and painting. I have worked in many ways using dye, paint, thread, fabric, and fiber. Prior to traveling to Indonesia, I had been using surface design techniques on silk and embedding them into encaustic to develop my own visual language of unique mark-making and patterning. A shift happened in the work as a result of traveling—the fabric itself became the subject matter and a springboard for new content. I wanted to make work that looked like old cloths that were worn in a way that would suggest some sort of use or purpose. They could be fragments or relics and could incorporate techniques typically found in ritual textiles and costumes.
Recently, I have been combining surface design techniques (such as discharge, silk painting, and indigo dyeing) on silk with encaustic on panel. There is marvelous allure of adding color to cloth and a magical alchemy of dyeing with indigo. When layering the silk into encaustic, the wax is beautifully absorbed by the silk. The silk then becomes semi-transparent, revealing rich subtleties of colored wax underneath. Murky layers of wax on top of the silk can add depth, mystery, and freeze the fabric in the moment. Working with encaustic in many ways is like working with fiber. There is a tactile quality to the wax that makes one want to touch it. The translucent layers of wax are similar to working with layers of dye. Wax can reflect and absorb light like various fibers. There are the textural and sculptural capabilities of wax as there are with fibers.
When I started thinking of my “paintings” as “objects,” it stimulated ideas of working sculpturally and freed me from thinking within the confines of the panel. It opened up the possibilities of working with other fibers, materials, and techniques. Incorporating these materials and working in this way, my intention is to create artwork that evokes a sense of transcendent mystery and purpose. The goal is to imbue the work with a vulnerability and vitality that reflects the presence of the maker. Each piece is a personal meditation on what connects the past and present, the beauty of imperfection and age. The challenge is how to make the things that inspire me and at the same time place them in a contemporary context. How do I celebrate these inspirations, use these traditions, and express it in a way that is relative to my own culture?
As I travel and seek inspiration, I am aware of how tourism and commercialism affect these places. Traditional weaving patterns can be found printed cheaply on cotton fabric. ”Fake” batiks are abundant. Natural dyes and materials are often replaced by cheaper synthetic ones. Symbolic meanings are in danger of being lost as techniques and knowledge may not be handed down to future generations. I believe that it is important to recognize the value and conservation of traditions and cultures with awareness and mindfulness of our impact on them. Threads of Life and the Bebali Foundation in Ubud, Bali, seek to preserve and restore indigenous textile cultures in Indonesia. They work with women’s weaving cooperatives to help manage their resources sustainably and relieve poverty in remote areas. The Bebali Foundation does botanical research of natural dyes and mordants. I spent a wonderful afternoon in the Bebali Natural Dye Garden dyeing with the indigo that is grown there. The garden beds are filled with different varieties of indigo and plants for other colors and mordants.
My consciousness and respect has grown for the beauty existing in other parts of the world as a result of my travels. I am grateful for the rich heritages that endure and am optimistic of how they might evolve. I am looking forward to future art inspiring journeys in Italy, India and a return to Java with others who share a similar interest in appreciating the artistry of cultural traditions.
Susan Stover teaches and shows her work nationally and internationally and maintains a full time studio practice in Graton, CA: www.susanstover.com.
This article first appeared in the Surface Design Journal Winter 2015/2016 “Wax & Fiber” issue, Volume 39, Number 4. The Journal is available in single print issues for purchase at: www.surfacedesign.org/marketplace .
A subscription to the quarterly Surface Design Journal is just one of many enriching textile-arts and education benefits enjoyed by members of Surface Design Association, which will celebrate its 40th anniversary next year. Members receive the beautiful print publication 4 times a year along with access to all of our digital editions (published since the Spring 2015 “Warp Speed” issue, Volume 39, Number 2). www.surfacedesign.org/subpage/digital-edition-now-available
Feasting is a way of celebrating special events, and many festivals have acquired a constellation of typical dishes. Often these are elaborations of everyday food, tarted up for the occasion. In many parts of Italy (maybe all, but I haven’t been everywhere) no meal is complete without bread, so what better food to make a fuss of.
The Garfagnana has its own special Easter bread called pasimata.
Paolo Magazzini, the village baker at Petrognola to whom I take my guests for bread lessons, recounted his procedure, the lengthy traditional way.
You take flour, sugar, butter, eggs, milk and lievito madre (starter dough).
Day 1 morning: mix all ingredients.
12 hours later: add more of the same ingredients except the starter dough.
Day 2 morning: add more of the same ingredients except the starter dough.
12 hours later: add sultanas, aniseed, vin santo (sweet Tuscan dessert wine), chestnut-flavoured liqueur.
Day 3 morning: light wood-fired oven.
Bake a batch of bread.
Put pasimata dough in round tins.
After one hour, take bread out. Oven will be exactly the right temperature for pasimata.
Bake pasimata for 40 minutes.
Remove from oven and eat enthusiastically.
The long rise over 48 hours allows time for the development of exceptional flavours and aromas. Today many people make a ‘fast cake’ version in an hour by substituting baking powder for sourdough starter. Next Easter I’m going to organise a blind tasting of the slow and fast versions.
I didn’t ask Paolo for the quantity of each ingredient, since I can get my fix from him. For those not so lucky, here’s a similar recipe from Castiglione in Garfagnana, a walled town which during the Renaissance was batted back and forth like a ping-pong ball between Lucca and Modena. Perhaps they consoled themselves between battles by eating pasimata.
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