This effervescent subculture has been struggling since the 90s, but a passionate group of diehard aficionados and musicians are determined to keep the party going
. Every Sunday, he dons an elegant suit, shines his shoes, curls his long moustache and goes dancing at a club in a nearby town, like many other weekend clubbers. Except Piovani is a 75-year-old grandfather of three, living for a scene that gives him a deep-rooted sense of community and belonging.
When I visit on a Sunday afternoon, Redas is full and about 150 people are lined up even before the venue is open. “Here we are – for the most part elderly people,” says Ornella, a retired clerk in her 70s. She has been a liscio aficionada since she was young, when the local Communist party organised summer festivals that included liscio dances.
Liscio, looked down on by Italian mainstream culture because it’s perceived as provincial, low-class and far too camp, has a strongly local and working-class dimension. Its roots are in peasant dancing fairs at the dawn of the 20th century, when Carlo Brighi, a violinist who played with Arturo Toscanini, adapted central European dances, such as the waltz, polka and mazurka, to an Italian taste.
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