Phenomenology of Brunori Sas

The recent surge of enthusiasm surrounding Brunori Sas stems from a long-standing desire for redemption and the need to break free from a negative narrative. This is why the singer-songwriter has become an "ambassador" of Calabrian culture.

"There is an identity eager to be represented, one that needs a spokesperson, an ambassador, a leader," says Olimpia Affuso, sociologist at Unical and deputy coordinator of the Media and Digital Society program. Her words attempt to explain the collective enthusiasm that has recently erupted around Dario Brunori, the singer-songwriter from Cosenza.

It is unlikely that Brunori himself sees his role in such grand terms, yet during the latest edition of the Sanremo Music Festival, he became an emblem of Calabria—a region long silenced or, worse, trapped in a grim and limiting narrative. His presence on that national stage was more than just a musical performance; it was an act of cultural representation that ignited a sense of pride and belonging among many Calabrians.

The Social Media Frenzy

For a few days, something shifted. Calabria was not talked about in terms of crime or backwardness but through poetry and authenticity. A wave of emotional support flooded social media, creating a movement of unexpected intensity.

According to psychologist Paola Bisciglia, sociologist Giap Parini, and Olimpia Affuso, this reaction was more than just admiration for a musician—it was a collective phenomenon rooted in a need for recognition. People saw in Brunori a mirror of themselves, someone who could articulate their identity on a national stage. His authenticity sparked a dynamic of identification: "Dario has become one of us, and there is a strong desire to see ourselves in him."

This phenomenon even led Brunori to joke about his own sudden "devotional" following. He imagined himself as a sacred figure in a southern Italian procession, with admirers pinning banknotes to his coat—an image that humorously captures the depth of attachment many now feel toward him.

High Culture, Pop Culture, and Calabria’s Complex Relationship with Itself

Brunori’s presence at Sanremo was not just about music. He brought Calabrian culture into mainstream discourse with ease and irony, making references to traditions like scirubetta (a local snow-and-must syrup dessert) and even the malocchio (the evil eye). By doing so, he indirectly evoked the work of anthropologist Ernesto De Martino, who studied magical-religious beliefs in southern Italy.

This blending of folk traditions with intellectual thought is a signature trait of Brunori’s storytelling. It allowed for a moment of cultural reappropriation—an opportunity to reclaim aspects of Calabrian heritage that had long been dismissed or hidden out of shame.

"Calabrians don’t hate Calabria—they love it, but they are ashamed of it," says Bisciglia. "Then along comes Brunori, who talks about things that feel personal and intimate to us—our dialect, our regional quirks, our peripherality—and he does it openly, without embarrassment. He turns our limitations into strengths."

Brunori as a Hypertext of Contemporary Culture

According to Affuso, part of Brunori’s success lies in his ability to function as a hypertext, seamlessly connecting different cultural codes, narratives, and media. He moves fluidly between indie music, folklore, literature, and social commentary, creating a layered and multifaceted artistic identity.

Parini, on the other hand, interprets the Brunori phenomenon as an expression of a specific Cosenza-based intellectual culture—one that is slightly disenchanted, ironic, and rebellious, yet far from being subordinate. Rather than an outsider perspective, it is a confident and self-aware cultural identity, historically rooted in a city that has long been a center of modernity and intellectual activity within Calabria.

The Pizzica and the Tarantella: Cultural Redemption Still in Progress

However, cultural pride alone is not enough to drive change. While Puglia has successfully transformed the Pizzica into a symbol of identity and tourism, Calabria still struggles to do the same with the Tarantella, which is often seen as outdated or "tacky."

Brunori’s moment of national visibility highlights a deeper issue: the need for Calabria to reclaim and reshape its cultural narrative in a more strategic way. Politics has largely neglected this role, leaving it to artists and intellectuals to carry forward a movement of cultural redemption.

"In Puglia, there was a synergy between politicians like Nichi Vendola and intellectuals like Franco Cassano," says Affuso. Universities played a crucial role in reshaping the region’s image and tourism strategy. Calabria, by contrast, lacks a clear vision, and while the energy around Brunori’s success is real, it remains to be seen whether it will translate into lasting change.

The Power of Beauty as a Political Tool

At its core, this phenomenon is a testament to what Affuso calls "the political potential of beauty." Through his music, storytelling, and authenticity, Brunori Sas has given Calabria a rare moment of positive national representation.

The real challenge now is to ensure that this newfound cultural pride does not fade. Calabria must find the intelligence, the vision, and the collective will to transform its identity from one of shame and marginalization into one of confidence and celebration.

And most of all—it must prove that it deserves this transformation.