The stay of foreigners in the Italian territory is subject to the issuance of a permit by the police or the Commissioner of Public Security of a certain zone that indicates the reason and the duration of the stay permit which ranges from a minimum of three months to a maximum of two years. Stay permit is requested within 8 days of entry in the Italian territory. Student stay permit cannot be renewed two years after the normal years of study of any particular course.
It is possible to change the purpose of soggiorno as long as there is evidence to sustain it. Re-entry visa is issued every time a foreigner desires to travel out of the country, stating specifically the period of time, after which will not be allowed to enter in Italy. With regard to employment, the Martelli law seems more aimed at healing a previous situation instead of drawing a comprehensive framework for the future, substantiating a moratorium designed to remedy the deficiencies which compelled foreign workers, for necessity, to work illegally and at a lower wages.
Despite the short breath of the legislation as a whole, the Martelli law has, however, set the slow and initial stabilization of migrants, through the first steps to integration and participation in public life. In Decreto Legislativo 25 luglio , n. The Government was Center-Leftist. The illegal immigrant clandestine gets expulsion letter and expected to leave the Italian territory on his own within the time stipulated on the decree, the expulsion decree could be appealed.
All foreign workers legally residing in Italy and their families are guaranteed equal treatment and full equality of rights sanitary services, education, etc with respect to the Italian workers in implementation of ILO Convention. For purposes of communication to the foreigner of the measures relating to Entry, Residence and Expulsion, acts are translated, even briefly, in a language understandable to the recipient, or, when this is not possible, in French, English or Spanish, with preference to that indicated by the individual.
The quota system flusso was also introduced: countries are give certain number of working visas every year in exchange of helping to stop illegal migration. Immigrants could do autonomous businesses and could also employ other foreigners.
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Stay permits - soggiorno - first, renew, modifications, etc are requested through the Post Office The borders are more controlled, illegal migrants repelled at the borders. Deportations with escort to the border Residence permit tied to existing work Severe and increased penalties for human traffickers Amnesty for domestic workers, carers for elderly, sick and disabled, stay permit issued to them for at least 1 year Use of Navy ships to fight smuggling human traffickers.
No automatic citizenship for people born in Italy by foreigners: at the age of 18 years one has to request for it. EU legislation on immigration and asylum seekers:. Italy adheres to the Schengen accord. The accord aims to establish a common area of free movement of citizens of the member States, eliminating borders and strengthening internal controls at the external borders. The accord also provides for cooperation between police and judicial authorities in criminal matters and extradition, and the creation of a system of exchange of information called SIS Schengen Information System.
All the member countries have eliminated control at their common borders and have created a unique system of visas and entries. Immigrants residing legally in any of the member countries have the right to travel to other member countries without visa. The free movement of persons is a fundamental right guaranteed to European Union EU citizens by the Treaties.
It is realised through the area of freedom, security and justice without internal borders. The concept of free movement of persons came about with the signing of the Schengen Agreement in and the subsequent Schengen Convention in , which initiated the abolition of border controls between participating countries.
Being part of the EU legal and institutional framework, Schengen cooperation has gradually been extended to include most EU Member States as well as some non-EU countries. England s not a member of the Schengen. Th EU members, however, apply their national immigration laws on non-EU citizens. A non-Eu citizen that commits a crime in any of the EU member States is normally deported back to the country of his legal residence. Asylum Seekers: The right to asylum shall be guaranteed with due respect for the rules of the Geneva Convention of 28 July and the Protocol of 31 January relating to the status of refugees and in accordance with the Treaty establishing the European Community.
Reference should be made to the Protocols relating to the United Kingdom and Ireland, annexed to the Treaties, and to Denmark, to determine the extent to which those Member States implement Union law in this area and the extent to which this Article is applicable to them. This Article is in line with the Protocol on Asylum annexed to the Treaties. Here are some principle characteristics of the law: Non-refoulement is a key facet of refugee law, that concerns the protection of refugees from being returned or expelled to places where their lives or freedoms could be threatened.
Unlike political asylum, which applies to those who can prove a well-grounded fear of persecution based on membership in a social group or class of persons, non-refoulement refers to the generic repatriation of people, generally refugees into war zones and other disaster areas. The principle of "refoulement" was officially enshrined in the Convention Relating to the Status of Refugees and is also contained in the Protocol and Art 3 of the UN Torture Convention.
Discorso sul corpo e sul piacersi. Sono a dieta, felicemente. Non sono sparita. Mi sento "non viva" la maggior parte del tempo. Ora non lo so. Sono impantanata in queste sabbie mobili e non riesco a reagire. Non a fare una sola. Volevo aspettare il termine delle due gare di aprile per gioire, per fare bilanci, per ringraziare le persone che mi sono state accanto e che mi hanno sostenuta nel percorso. Forse anche quelle che, alzando un sopracciglio, mi hanno lasciato intendere un "ma 'ndo vai? Che in un modo o nell'altro, dal punto di vista fisico, mi son sentita s.
Here we go again La mia prima gara, un battesimo del fuoco che mi ha lasciato una gran voglia di fare. Il mondo scivola. Io lavoro per vivere e non il contrario. Eppure, anche se il tempo ci sarebbe. Due pali e un'anima. Mi conosce da tempo, sa che non sono una ragaz. Occorre ingannare la mente. A volte la paura mi paralizza. Non che io non riesca a muovermi, ma sapendo a cosa vado incontro a volte non ho voglia di farlo.
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Diciamolo: chi ha voglia di insistere nel fare una cosa fino ad avere lividi e calli, e vesciche? Una pazza, o una ballerina. O una pole dancer. Forse in qualche modo anche io Le giornate passano, le notti volano via.
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Ho ricominciato a scrivere, a correggere e a progettare. Faccio mille cose insieme, come sempre. Scrivo nella pausa pranzo, correggo dopo cena, progetto nel frattempo. How I met the pole In quel posticino, anche quando ancora non sapevo che cosa fosse, "il palo" ha spesso visitato la mia fantasia. Un attrezzo che poco aveva a che fare con sport e ar. Bad Santa. Ho sempre odiato il Natale, trovandolo falso e inutile. Del periodo mi piacciono le luci, gli addobbi - esclusi i Babbo Natale impiccati ovunque - i colori.
Non mi piaceva da piccola, come ogni cosa obbligata. Era un momento in cui non dovevo dire il vero, sorridere forzatamente e fingere di essere felice. Mi toccava, da figlia di separati, festeggiarlo due volte. Quando ho sentito per la prima volta questa canzone ho pensato fosse la mia. Non mi piace la voce e non mi piace forse nemmeno la musica ma quello che dice mi ha toccato. Come racconta lui. Avevo bisogno di ballare per stare bene. Era un modo per sognare, per credere davvero di venirne fuori. It actually was what I preferred to do even earlier.
When I was a kid I knew that I wanted to dance, and I was going to see ballet and stuff—but as soon as I started to do composition, improvisation, and I started to see things like a movie of Alvin Ailey, or Carolyn Carlson, I felt that that was what I wanted to do. What was it about the Accademia that disappointed you so much? Capanna: No—because actually, I like to work hard. But what made me disappointed was that they were not trying to create artists and to develop human beings, but they were trying, kind of, to make a clone of a stereotype kind of ballerina. I remember when I was 12 years old, they made me lose more than 10 kilos [22 pounds] because I was supposed to be skinnier.
But to lose weight was the only way to have the approval of the teacher. For me, it was a bad environment. When I speak with people who are studying over there, who are doing the teacher training, they say that nothing has changed. And some of the dancers that they treated well, they treated too well. Anorexic, or a lawyer? But once I had a dream. I was on a stage, and I was kind of naked, and I wanted to dance, but I had these invisible chains around me.
So when I woke up, I started to dance again. A friend of mine told me there was a good modern dance teacher. I went there, and she did a good class, so I started to study with her. Her name is Roberta Garrison. She really helped me to refocus on my dance. Then, after that, I went on scholarship to the Laban Centre in London during the summer to see how it was and to see if I really wanted to be in London.
But then an Italian choreographer, Patrizia Cerroni, asked me to start working with her, and so I started. So, then you were working. That must have helped your self-esteem. Capanna: Yes, even though, I have always had inside me a lot of insecurity. So, after her, I had another job in Naples, at the Teatro Bellini. And so, from there, the choreographer that was doing that piece, he called me to work with him in his company.
And this was all modern. Capanna: Yes, but the work in the Teatro Bellini was more like dance theater. I was dancing, but there were the voices of Titania and Oberon, recorded— and all amplified and deformed a little. So I was dancing but kind of acting and, [laughs] playing too. It was challenging. I was kind of young, and it was a big responsibility. I had fun. Did you go to other countries with it? Capanna: We went just to Switzerland. And with him, we traveled a lot. How did that start? Capanna: For me it started the first time I went to New York. In his class, he used a lot of yoga.
I was feeling good when I was doing that kind of movement. I was so curious, I tried to do a real yoga class with him. It was the most beautiful thing I had experienced in years. I mean, in my first class, I just cried. It was like something was opening inside me, like there was a curtain in front of my eyes that suddenly opened up. It was an internal experience. When I was a kid, I was always feeling the weakest part of my body. Nobody was trying to let me see the beauty my body or my mind or personality could have.
It just made me feel so good. It was the first time I was working with my body and not against my body. So was it then that you decided to pursue yoga? Capanna: It was in when I decided to try and stay in New York. So from there I started to study yoga. At the beginning, in and out. Sometimes I was so focused. But every time I was feeling that I was really getting lost, there was the yoga that would bring me right up.
Capanna: No—but it helps my dance too. I feel younger as a dancer than I did when I was When I first started to do yoga, I was always having a lot of injuries. But now I feel much stronger. And yoga was a big tool for me to be compact. Also, artistically, with yoga you have to go much more inside, to be more aware of your thoughts, of your sensations, even to be more honest with yourself. And that, when you perform or you want to create art, I think is just important. By going inside, what do you mean? Do you mean becoming more aware of yourself?
Capanna: Yes, more aware of myself, of my thoughts, my sensations even to be more honest with myself. I know at the end what I really feel, what I really want. Does it help with performing onstage, aside from dancing in the studio? Those can be two very different experiences. Capanna: Yes, I think it does, because it helps you with the breathing, makes you feel calmer. Yoga helps you be much more in the present moment. Sometimes also, when there is a big technical or mental aspect of the performance, it helps you bring the dance out at a more spiritual level, helping the body mind and spirit work together.
For me, the spirituality in art is very important. I find this often in the Asian expressions of art: Japanese theater, Butoh, Indian dance. When you go to dance, people can see it. But how does yoga itself help you with that, I mean beyond the dance aspect? I try to dance when I do yoga, and to do yoga when I dance. Personally, for me, it was the way I rediscovered the joy to dance, the honesty of this joy. And when you go to perform, not to think just like a shape that you are doing, but really, what you feel when you dance.
The diversity of yoga is beautiful. I did the basic training, and then the Extra Gentle teacher training.
The Integral Yoga institute comes from Swami Satchidananda. He was a disciple of Sri Sivananda.
Journal of Italian Cinema & Media Studies Conference
People often wonder when they are contemplating studying yoga, what is the best type of yoga to go with. I mean, should it be Hatha, Iyengar, Kundalini? Capanna: I think there are differences between the types; like Asthanga maybe is for younger people, Kundalini for others…but the important thing is to try different teachers and see what type is the best.
But always go to a teacher that did training. I notice that, when I teach yoga, I can have a powerful effect on the mind. What you say or what you do can really influence their lives. Instead of good, it can be bad. The more you study, the more you know how ignorant you are. The best thing is to take class, know other teachers, and try to learn something every time. What are you doing now? Where are you headed? Every Tuesday, I teach two classes at a therapy institute for people with injuries.
How about dance? The environment is very closed right now. Since I came back from New York, I just did a few works for other choreographers. To try to keep my dance alive. This trip to Buffalo [to work with Elaine Gardner] was part of that, right? Grinta, Coraggio, fantasia. Camera e cucina a Brooklyn o al Village, un posto di lavoro precario a Midtown, nella City, e tanta voglia di affermarsi.
Danzando sotto le stelle e le strisce.
Interviste | Benedetta Capanna | DANZA & YOGA Essere sensibili è essere vivi
Benedetta Capanna, coreografa e poetessa. Ero nuda e legata con delle catene invisibili, non riuscivo a spezzarle.
Quando mi sono svegliata, ho detto a me stessa: devi ricominciare da capo. La sua performance ha avute buone recensioni sui giornali di Manhattan e pagine intere su America Oggi, uno dei quotidiani degli Italiani negli Usa. Certo, sono contenta, adesso ho nuove proposte di lavoro, ma soprattutto tanti progetti da realizzare. You can find out more about which cookies we are using or switch them off in settings.