Il Melograno Farm: Excellence Among Sicily’s Wildflower Honeys

Inner Areas: Italy's True Beating Heart

For several decades, the so-called Inner Areas have been a priority on the political agenda and, by reflection, in the economic and social strategies of Italian regions. Long identified as the Achilles' heel of the national nervous system, Inner Areas, geographically distant from large urban agglomerations and peripheral in terms of access to essential services like healthcare, education, and mobility, nonetheless continue to host a significant portion of the Italian population. According to a recent 2024 IFEL study based on ISTAT data, Italy has 7,896 municipalities, 69.9% of which (5,521) have fewer than 5,000 inhabitants. Of these, almost 4,000 municipalities fall within Inner Areas, inhabited by 13.4 million people. In Sicily, out of a total of 391 municipalities, a remarkable 291 are part of the 72 Inner Areas, accommodating approximately 2 million people. Based on these figures, 22.7% of the Italian population resides in Inner Areas, but this changes dramatically when we analyze the Islands and the South, where Inner Areas constitute 72.4% and 68.1% of the total territory, respectively. In the SNAI 2021-2027 program, project areas have increased to 124, involving 1,904 municipalities and 4.6 million inhabitants.

We're talking about the Italy of villages rich in history, culture, and traditions, populated by people with ancient wisdom, heirs to an extraordinary tangible and intangible culture. These places boast countless beauties to discover among pristine mountains and seas, local stone constructions and red tiled roofs, interwoven with ancient alleys and small squares where time seems to stand still. These villages are special places, designed to live in symbiosis with their surrounding environment. They are extraordinary settings that offer a genuine identity, where every step forward seems to powerfully transport us back in time, in a virtuous loop that appears endless. At the same time, however, these places are symbols of fragility: often marginal and marginalized, far from essential services, and thus subjected to the relentless scythe of depopulation and economic and social impoverishment.

This phenomenon has not spared the western edge of the Nebrodi area, comprising the Municipalities of Mistretta, Santo Stefano di Camastra, Reitano, Castel di Lucio, Pettineo, Tusa, and Motta d’Affermo, as evidenced by data collected between 2002 and 2022 (ISTAT). The unforgiving numbers tell us that this area experienced an average population decrease of -17%, with peaks of -30%, in terms of resident population.

It's well-known that, precisely because of the characteristics described above, Inner Areas have, in recent years, attracted the interest of numerous tourists drawn to slow, immersive, and experiential tourism. This has created the conditions for a regenerative process within the villages themselves, but given the fragile context in which it could develop, it requires careful and targeted governance and organizational structuring.

The Culture of Hospitality: A Prerequisite for Tourism

"The culture of Hospitality does not coincide with tourism, but it is its prerequisite." (Andrea Succi)

In this direction, an innovative organizational model has developed over the years, already successfully applied in various regions of Italy, and which, in 2024, landed in Sicily. We are talking about the GMT™ (Territorial Marketing Group) format and the new figure of the CTT™ (Territorial Tourism Coordinator). The project stems from the decennial work of Dr. Andrea Succi, founder of the Territori e Italianità community, a Destination Temporary Manager for the Culture of Hospitality with a participatory approach, author of numerous articles and publications, and a Territorial Marketing Facilitator. The project aims to conceive, organize, and structure the tourism offerings of Inner Areas through a participatory and shared model of Cultural Regeneration for Communities. Citizens, administrators, and economic operators are all an integral part of the project, which first aims to form Welcoming Communities and then transfer all the gathered potential and synergies into a credible and sustainable governance and organizational structure over time. To achieve this, there are two key professional figures: the Destination Temporary Manager, who has the delicate task of identifying the path forward through a careful study of the territories and the people who inhabit them, and the Territorial Tourism Coordinator, who supports the Destination Temporary Manager and continues their work to ensure the project's sustainability.

The GMT™ Halaesa Nebrodi and Regional Applicability of the Model

Based on these premises, in January 2024, the GMT™ Halaesa Nebrodi was launched in Sicily, coordinated by me in my role as CTT™. It encompasses the Municipalities of Santo Stefano di Camastra, Reitano, Mistretta, Tusa, Pettineo, Castel di Lucio, and Motta d’Affermo.

Nestled between the western edge of the Nebrodi Park and the eastern edge of the Madonie, the Halaesa-Nebrodi area represents a unique blend of history, art, traditions, culture, geo- and biodiversity, in an exceptional symbiosis of sea, hills, and mountains. Undoubtedly, Halaesa Nebrodi has all the credentials to become an authentic Tourist Destination. With this objective, thanks to the synergy with over twenty economic operators, it is approaching a role and identity in professional tourism as a bearer and guardian of immense tangible and intangible knowledge, exemplified by the Ceramics of Santo Stefano di Camastra, the millennia-old history of Mistretta, the archaeological excavations of Halaesa Arconidea, the secular olive trees of Pettineo, the traditions linked to rural civilization, agri-food products, and the Fiumara d’arte Museum Park. In April of the same year, the website www.halaesanebrodi.it was launched, containing numerous sections useful for describing the project itself and telling the story of the territory and its people. The work carried out in synergy with the operators and the tour operator Aura Mundi culminated, in March 2025, in the publication of a first Catalog of tourism products, which will be followed by its implementation and presence at some of the most important sector fairs, including the upcoming BTE in Palermo.

Cultural Regeneration as a Starting Point

The seven Municipalities are thus represented in their singularities and specificities but integrated into a broader and shared context, in the conviction that cohesion and interaction between Municipalities can lay the foundations for the cultural, social, and economic regeneration of individual realities. Halaesa-Nebrodi, thanks to the pristine beauty of its characteristic villages and their inhabitants, has long been a tourist destination. However, in our project, we intend to propose this special place as an authentic Tourist Destination, coining and strengthening a brand that arises, almost naturally, from the synergy between different communities, and which, precisely in diversity, demonstrates its strength and conveys its great attractiveness. According to this model, local identities ("campanili") should not be demolished but reinforced and instead pooled into a broader and shared project. Communities and administrators are therefore called to dialogue, interaction, and sharing to chart a new regenerative path that can counteract the social and economic decline that we all have a duty to oppose, each with our own role and expertise.

The Role of Institutions

With a view to developing a shared project, the seven administrators were asked to approve an Action Plan that can lay solid foundations for territorial tourism planning through valuable and indispensable work in study, training, awareness-raising, consultancy, and support for operators and public administration. The GMT™ model, by its nature replicable and scalable, was presented in Nicosia during an interesting workshop, sparking the interest of administrators, economic operators, associations, and the GAL ISC Madonie. Considering its regional applicability, it was also presented to the institutional leaders of the Sicily Region.

Stepping across the threshold of the large building housing the Ceramiche Fratantoni showroom and factory means immediately immersing yourself in a world whose contours are clearly defined by the gray of the clay ('a rita in the local dialect) of countless vases, "Moro heads," and lamps, all crafted and left to rest, awaiting glazing and firing. This stark contrast is met by the explosion of vibrant colors used for decorating the finished artifacts that literally fill the exhibition spaces. At the center of the stage of a nearly century-long performance, a workbench stands out, surrounded by pieces already worked but awaiting decoration and firing. It's a magnificent scenographic and communicative choice that speaks volumes about this ancient expressive art, which only finds its final expression at the end of a long working cycle.

Within this complex and ancient world are the people, the artisans, and the skilled workers who have dedicated themselves to this magnificent art for centuries and who have made Santo Stefano di Camastra famous worldwide: the ceramists, or, to use a lesser-known term, the ceramicari.

Filippo Fratantoni is one of them, son of ceramists and a ceramist himself. He's a multifaceted individual, always involved in the social life of his Santo Stefano di Camastra, to which he also dedicated a long political period.

The Legacy of Ceramiche Fratantoni

Filippo, this chat is taking place within one of the historic businesses of Santo Stefano di Camastra: Ceramiche Fratantoni, a descendant of the Ditta Fratelli Fratantoni, founded way back in 1935. What has happened in these 89 years of activity?

"The business was born in the post-war period when my grandfather and his four sons set up an artisan workshop where they produced 'i marazzetri and 'i cusuzze, which were nothing more than toys inspired by everyday objects. Using four lathes for processing, they created small bummuli, quartare, lemmi, and rasticetri, reproducing in miniature what Stefanesi artisans had long been producing in their workshops. The small pieces made were bought by street vendors who, aboard their carts, would then sell them in local markets for a few pennies, allowing less affluent children to also have a modest toy to play with.

Subsequently, at the end of the Second World War, a qualitative leap occurred, and the Fratantoni family, thanks to the purchase of larger warehouses and premises, dedicated itself to the production of terracotta for daily and building use, still remaining outside of ceramic products as we see them today.

In reality, at that time, furnaces and workshops were still located outside the town, along the national road (SS.113) that led towards Messina, which carried all the modest vehicle traffic of the era. These were the hard 1950s after the war, but subsequently, thanks to the economic recovery, we began to see Fiat 1100s, then Fiat 600s, some regular buses, and even tourists who, attracted by the goods left to dry by the numerous roadside artisans, began to be interested in purchasing the displayed products. From this moment on, interest also grew in producing and selling decorated ceramics, which led to the birth of 'a scola ceramica, now the Art School, which began to train the first decorators to support the master potters—a crucial moment given that the workers of the time did not have the skills to color their artifacts.

Our interest has always been directed towards reproducing 19th-century Stefanesi traditional tiles and bricks, and in the 1970s, we patented the glazing of lava stone slabs, with which we began to build tables of various shapes and sizes that would otherwise be impossible to create with clay, a material severely penalized in terms of resistance and contraction during firing.

Today, our company has reached the fourth generation. My brothers and I dedicate ourselves to the production of the classical line, particularly the production of tiles, while we give the younger generation the freedom to experiment with the new worlds and creative spaces offered by modern ceramics."

Responding to Market Challenges and Innovation

Some years ago, we witnessed an invasion of foreign-made products, especially from China, which had nothing to do with artisanal ones, distracting consumers and creating great confusion. How did the community of Stefanesi ceramists respond to this intrusive presence, what countermeasures were taken, and what has changed in the relationship with the end-user?

"We simply continued to do our job and to do it well. The real invasion happened, but it has also passed. Today, mainly reproductions of pinecones and 'Moro heads' arrive from China, which have little impact on our work. My father always told us: 'Don't get discouraged, ceramics always have their ups and downs,' and I must say that's how it has been. Today we are in a period of great recovery. People's taste is becoming more refined and they can recognize an object by the quality it expresses. The new generations are increasingly attracted to our world, thanks also to the presence of media and social media, which have given new impetus to our sector. Just think of the international projection that designers Dolce and Gabbana gave to the 'Moro head' by featuring it in some of their advertisements. This highlighted an object that has always existed but, undoubtedly, thanks to their intervention, has become highly sought after."

The MUDIS: A Diffused Museum

Filippo Fratantoni's name is closely linked to MUDIS, an acronym for "Museo Diffuso Stefanese" (Stefanesi Diffused Museum), of which you are the Artistic Director. I'm curious about the use of the term "diffused" and, at the same time, I'd like to delve into its history, which begins with Giuseppe Lanza Barresi, Duke of Camastra.

"We have always believed that Santo Stefano di Camastra is an open-air museum. The MUDIS was born from a vision that originated in the 1980s, thanks to the late mayor Gigi Famularo, who worked to find the necessary funds for the restoration of the palace that belonged to the Duke of Camastra. That's where the Museum of Ceramics was born, with ample exhibition spaces dedicated to the history of Stefanesi and Sicilian ceramics, coexisting with a very important collection of modern artistic ceramics. Alongside this, as part of the diffused museum project, there are installations scattered throughout the city, and our artisans' workshops themselves are an integral part, through their shops and colorful exhibition spaces that overlook the main streets of Santo Stefano in a very scenic way."

The "Passport of the Ceramic Route"

Artistic ceramics are a very important tourism driver, especially if the right synergies are created with other regional and national realities. I find the "Passport of the Ceramic Route" initiative very interesting. It aims to unite six Sicilian communities in a stimulating journey to discover the world of ceramics, and Santo Stefano is an integral part of it. The Passport was presented on March 24th of this year—I was there—but I didn't see many ceramists present. How many businesses have joined the project, and what developments do you foresee from this initiative?

"It's true. Although we ceramists have cordial and collaborative relationships with each other, we are quite reluctant to leave our workshops and engage in collective, broad-ranging projects. Sometimes in the past, the expected results were not seen, and this has led us to increasingly retreat into our individual activities, avoiding professional confrontation with other colleagues, and thus we have gradually given up on creating the right synergies. I think instead we should change our attitude.

Regarding the Passport of the Ceramic Route, I believe it was and remains a valid initiative that the current administration believes in and has put a lot of energy into. It probably needs to be revised in some aspects, but the initiative is truly interesting."

Ceramics in the Age of Robotics

The challenges of the third millennium bring us closer and closer to a robotic and computerized world. Do you think the world of ceramics and craftsmanship in general, sooner or later, will have to adapt to this non-gentle revolution? Will a robot ever use a stick to shape a "Moro head" or a brush to glaze a "Matrangela"?

"In reality, 3D printers have already entered the world of industrial ceramics. With them, and thanks to them, it's now possible to create decorated laminate slabs of 3 square meters with thicknesses of just a few millimeters, which would be impossible to achieve with traditional machinery. But we're talking about industrial and large-scale productions.

Craftsmanship is another thing: it's a place where 'a rita (clay), creativity, heart, and manual skill intersect. I don't believe a robot could ever intervene and replace the artisan-artist, at least in this aspect."

A Dream for the Future

Finally, Filippo, your story tells of a person who has dedicated himself to his company, his family, and his community. Do you have a dream tucked away that you would like to entrust to future generations?

"The dream exists, and I've kept it tucked away for several years: I would like to see a great museum of contemporary ceramics realized, with young artists from all over the world gathering in Santo Stefano to dream, experiment, and create contemporary works of art. It would be a valuable tool for cultural and tourist attraction to accompany the artworks contained in the Diffused Museum of Fiumara d'Arte, which would further strengthen the tourist and artistic vocation of our territory.

You can learn more about the Operators and the Project of GMT™ Halaesa-Nebrodi.

Forty-eight short films in competition, made by artists from different parts of the world, divided into three screening sessions; an evening dedicated to the nomination announcements and another dedicated to the awards ceremony. All enriched by guided tours of the Fiumara d'arte works, workshops for children, musical entertainment, and, of course, insightful tours of the host city: Pettineo.

These are the numbers with which the first edition of the Short Movie Fest, the international short film festival conceived and organized by the municipal administration and the Small Shaker theatrical association, presents itself to the public. It is framed within the much larger project called "COAST AND ALESINE VALLEYS: AN ITINERARY TO REDISCOVER THE VILLAGES OF CASTEL DI LUCIO, MOTTA D'AFFERMO, AND PETTINEO."

The project, which we have already covered previously (https://www.halaesanebrodi.it/Pnnr-attrattivit%C3%A0-borghi), born and developed with substantial European funding provided through the PNRR, aims to achieve the ambitious goal of strengthening the cultural and tourist offerings of the three municipalities through a series of specific interventions for each reality, yet interconnected.

Along this journey, which will unfold during the month of June, in addition to the Short Movie Fest, other interesting activities will come to life, such as: "Risalendo la storia" (Retracing History) (Castel di Lucio-Pettineo-Motta d'Affermo), "Medievalia" (Castel di Lucio, June 29), "Il filo di Arianna" (Arianna's Thread) (Castel di Lucio), "Residenza d'artista" (Artist Residency) (Pettineo), "1 km di tela" (1 km of Canvas) (Pettineo).

To expand the rich offer of events, interesting cultural and musical events are scheduled to be hosted at Palazzo Minneci (Motta d'Affermo), such as the upcoming Euterpe Fest planned for June 26, 29, and 30.

The three evenings of the Short Movie Fest will be hosted by the duo Alessandra Storniolo-Filippo Di Pietro and will feature the renowned musician and composer Nino Nobile and the comedian Roberto Anelli as guests.

The jury will be composed of Francesco Nucara (Director of Photography), Michele Tarzia (filmmaker), Giovanni Puliafito (composer), and the Small Shaker Theatrical Association.