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Country of departure:

TRAME considers “country of departure” to be the North African or Middle Eastern country where the interviewee lived for most of their life before arriving in Italy, in accordance with the archival criteria adopted by the CDEC.

Country of birth:

Year of birth:

Age at arrival in Italy: years old

He leaves the country of origin for reasons

The arrival in Italy did not involve intermediate stops

He arrives in Italy with family members

The map follows the movements of the interviewee, ending the year after their arrival in Italy

Dan Nunes Vais was born in Tripoli in 1946, during the period of British occupation that marked Libya’s transition from an Italian colony to independence. Both his parents and his grandparents were also born in Tripoli, while his great-grandparents had emigrated from Italy between the late eighteenth and early nineteenth centuries. In particular, his maternal great-grandfather, Giannetto Paggi, originally from Pitigliano, had founded the first Jewish school in Tripoli, followed by the first Italian school.

The Nunes Vais family’s connection to Italy went beyond citizenship, which they had maintained in Libya for over a century. It was also reflected in their use of Italian as their native language, their cultural education, their lifestyle, and the social circles they frequented. The center of Tripoli, where Dan lived, had a distinctly Italian atmosphere, even after independence, thanks to the presence of a significant Italian minority.

The center of Tripoli was Italian, it was essentially an Italian city

Dan Nunes Vais:
My father used to go for an aperitif with his friends

Interviewer:
Without their wives?

Dan Nunes Vais:
Well, my father worked and my mother was at home, so yes. There was the [Caffè] Corso, there was Gambrinus.

Interviewer:
Tell me some names [of cafés].

Dan Nunes Vais:
Caffè Corso, Gambrinus, then there was Bascetta, the ice cream maker, and Campi, the pastry chef, and then there was the dairy…

Interviewer:
Were they all Italian?

Dan Nunes Vais:
Yes, yes, all Italian. The center of Tripoli was Italian; it was an Italian city in every respect. We never needed to learn Arabic. I say that, unfortunately.

Dan attended Italian schools in Tripoli, from primary school on Via Roma to the Dante Alighieri High School, where he graduated at the age of sixteen. He mostly spent time with his Italian classmates, both Jewish and non-Jewish, including his free time, particularly at the beach club. Unlike his parents’ generation, who attended Jewish clubs like the Maccabi, Dan’s generation had fewer ties to Zionist associations. Instead, like many of his peers, he was fascinated by American music broadcast by the radio station at the local US military base, through which he also began learning English.

Immediately after finishing high school, aged just seventeen, Dan continued his studies in Rome, moving there in 1963 to study economics at university. When the violence against the Jews of Tripoli erupted in June 1967, following the outbreak of the Six-Day War, his parents were fortunately in Italy. However, his older sister, grandmother, and aunt—who worked at the American embassy—were still in Tripoli. It was thanks to Dan’s aunt that the three women managed to find a way to safety, aided by the embassy’s contacts, who sheltered them at the military base.

After about a month, the family was reunited in Rome, where they started a new chapter of their lives. Dan made a brief return to Libya in 1968, just before the final expulsion of the Jewish and Italian minorities, which took place when Muammar Gaddafi rose to power in 1970. In Rome, Dan quickly adapted to his new life, while his father, in contrast, initially struggled to adjust, feeling disoriented by the change. Over time, Dan also became involved with the Roman Jewish community, becoming increasingly integrated into the city’s social fabric.

As for Italy, I immediately felt at home

Dan Nunes Vais:
As for Italy, I immediately felt at home. After all, I had already decided that I wouldn’t return to Tripoli to work. So, I moved around Rome easily, I went out, I had season tickets for concerts at the Aula Magna, I traveled around, so I didn’t experience any trauma. The only difficulty was the university, because there were older people there, much older than me, so I didn’t make any friends.

Interviewer:
And how did your parents adjust?

Dan Nunes Vais:
Well, at first, my father took it hard, because in ’67 he was fifty-six years old. He had always been very active, working, creating, doing things. In Tripoli, he had 130 employees at one point, in various ventures, and suddenly finding himself with nothing to do was very depressing for him.

Related stories

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.

How to read the data portraits
The data represented in the portraits include gender, age at arrival in Italy, decade of arrival in Italy, country of origin, reasons for departure, whether the journey included stops or was direct, and whether the person traveled alone or with family.

Gender and age at arrival in Italy

Female, age 0-9

Female, age 10-19

Female, age 20-29

Female, age 30-39

Female, age 40-49

Female, age 50-59

Female, age 60-69

Female, age 70-79

Female, age 80-89

Female, age 90-99

Male, ages 0-9

Male, ages 10-19

Male, age 20-29

Male, age 30-39

Male, age 40-49

Male, age 50-59

Male, age 60-69

Male, age 70-79

Male, age 80-89

Male, age 90-99

Decade of arrival in Italy

1940

1950

1960

1970

1980

Country of origin

Egypt

Iran

Lebanon

Libya

Syria

Tunisia

Reasons for departure from the country of origin

Politics

Economic

Study

Personal

Direct trip to Italy or with one ore more intermediate stops

Direct trip

With one ore more intermediate stops

She/He arrived in Italy alone or with family members

She/He arrived in Italy alone

She/He arrived in Italy with family members

What is a data portrait
A data portrait is a form of artwork that visually represents a specific set of data about an individual, rather than depicting their physical appearance like traditional portraits. Data portraits are subjective renderings that mediate between the artist’s vision, the subject’s data, and the audience’s interest (Donath et al., 2010).
Following this concept, the data portraits designed by Sara Radice specifically for the project TRAME allow for an understanding of a person through various data points, enhancing the viewer’s understanding of the subject beyond their physical appearance.

References and credits
Judith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong; Data Portraits. Leonardo 2010; 43 (4): 375-383. doi: https://doi.org/10.1162/LEON_a_00011.

The data portraits designed for this project draw inspiration from the data portraits projects designed by Giorgia Lupi, such as the physical installation “…Ma poi, che cos’è un nome?” for the CDEC Foundation at the Milan Triennale Museum in 2018 and the TED Data Portraits in 2017.