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The Conversation
The Conversation
Jennifer Ann McDonell, Associate professor, University of New England

Friday essay: Joanna Bourke, the NSW arts minister, and the unruly contradictions of cancel culture

Scold's bridle, a torture device used to prevent women speaking. Wikimedia commons, CC BY-SA

An earworm has gnawed its way into my brain, looping the same melody over and over. It is Italy’s most famous resistance song, Bella Ciao, which I recently heard played as a high-decibel dance remix in an exclusive Balinese bar overlooking the Indian Ocean. Well-heeled patrons of diverse nationalities bopped to the catchy tune in the glow of a glorious sunset and, fuelled by exotic cocktails, chanted the chorus. I wondered how a sacred anthem of radical credentials could have strayed so far from its original meanings and contexts.

Bella Ciao began as a partisan anthem, possibly with roots in folk laments sung by exploited workers in the north of Italy. It is associated in Italian minds with the resistance of 1943–45.

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