Maurício Tizumba
This Brazilian cultural matrix positions Maurício Tizumba globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Maurício Tizumba
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City/Place:
Belo Horizonte, Minas Gerais
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Country:
Brazil
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Location & Map:
Rua Ituiutaba, 339 - Prado _ Belo Horizonte / MG [open map]
Life & Work
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Bio:
O ator, compositor, cantor, multi-instrumentista, diretor musical e capitão de congado, Mauricio Tizumba, ao longo de sua trajetória artística, que teve início na infância na extinta TV Itacolomi, estabeleceu um diálogo profundo entre diversas formas de expressão e as manifestações populares tradicionais da cultura afro-brasileira e afro-mineira.
Ele se formou no Teatro Universitário da Universidade Federal de Minas Gerais e explorou o cinema, a televisão e o teatro, participando de 28 espetáculos, incluindo 25 musicais. Destacam-se na sua carreira a trilogia de João das Neves: "Bituca", com músicas de Milton Nascimento, e "Besouro Cordão de Ouro" e "Galanga Chico Rei", com músicas de Paulo César Pinheiro. A experiência com "Galanga Chico Rei" se materializou também em um álbum homônimo, o sexto de sua carreira, criado em colaboração com Sérgio Santos.
No teatro, sua colaboração na criação da Cia. Burlantins, em 1996, ao lado de Tim Rescala, resultou em produções notáveis como "Pianissimo", "A Sombra do Sucesso" e "A Turma do Pererê", além da opereta "O Homem que Sabia Português". Sua atuação como o jumento no espetáculo infantil "Os Saltimbancos" lhe rendeu o Prêmio Zilka Salaberry em 2010. Tizumba também é o idealizador da Mostra Benjamin de Oliveira e do Espaço Cultural Tambor Mineiro. Ele já levou sua arte aos Estados Unidos, Canadá e Europa, representando Minas Gerais no "Ano do Brasil na França". Com seu grupo de tambor mineiro, ele participou do New Orleans Jazz Festival e se apresentou em quatro edições do Landesmusikakademie Berlim.
English:
The actor, composer, singer, multi-instrumentalist, musical director, and captain of "congado" (a traditional Afro-Brazilian religious and cultural manifestation), Mauricio Tizumba, throughout his artistic journey, which began in childhood on the now-defunct TV Itacolomi, established a profound dialogue between various forms of expression and the traditional popular manifestations of Afro-Brazilian and Afro-Mineira culture.
He graduated from the University Theater of the Federal University of Minas Gerais and explored cinema, television, and theater, participating in 28 shows, including 25 musicals. Highlights of his career include João das Neves' trilogy: "Bituca," with music by Milton Nascimento, and "Besouro Cordão de Ouro" and "Galanga Chico Rei," with music by Paulo César Pinheiro. His experience with "Galanga Chico Rei" also materialized into a homonymous album, the sixth of his career, created in collaboration with Sérgio Santos.
In theater, his collaboration in the creation of the Burlantins Company in 1996, alongside Tim Rescala, resulted in notable productions such as "Pianissimo," "A Sombra do Sucesso," and "A Turma do Pererê," as well as the operetta "O Homem que Sabia Português." His performance as the donkey in the children's play "Os Saltimbancos" earned him the Zilka Salaberry Award in 2010. Tizumba is also the creator of the Benjamin de Oliveira Showcase and the Tambor Mineiro Cultural Space. He has taken his art to the United States, Canada, and Europe, representing Minas Gerais in the "Year of Brazil in France." With his group of Minas Gerais drummers, he participated in the New Orleans Jazz Festival and performed in four editions of the Landesmusikakademie Berlin.
Clips (more may be added)
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX