Moîra Logos. Un discorso sul Destino (2022) examines a ritual from "Grecìa Salentina": a funeral lament performed by “prefiche”—women who would go to the home of the deceased to mourn around their coffin. These women, paid by the deceased’s family, served to demonstrate to the deceased the depth of grief felt by those close to him, with the aim of reassuring the dead so that he would not return to claim anything in the world of the living. This religious practice, at the heart of the cult of the dead, stemmed from the idea of rendering the corpse harmless out of fear of its return: as Ernesto De Martino writes in -Death and Ritual Lamentation-, the lament is a sort of «spell for the dead, a recitation of verbal and mimetic forms that helps the living corpse attain its stable condition in the world of the dead... Lamenting is a mobilization of the living to act upon the dead in order to facilitate their reaching their final resting place...and to transform them into an ally.» The melodic line of the lament follows a traditional and simple structure that could be slightly modified by the professional mourner depending on her region of origin.

Another practice to prevent the deceased from returning was to burn their clothes and destroy the bed where they usually slept. The bed, consumed by fire (a symbol of life itself, with its cycle of birth, growth, and death), represents a life that has ceased to exist and must be let go, leaving behind only the ashes of memory.

The lament "Ma emèna mu dispiàcesse keccia-mu", which serves as the musical accompaniment to the video, is part of the recording work by Alan Lomax and Diego Carpitella, carried out in August 1954 in the villages of "Grecìa Salentina" and included in the book -Musica e tradizione orale nel Salento- by Maurizio Agamennone, Professor of Ethnomusicology at the University of Florence.