Didgeridoo and Art – Interpretation and Improvisation

Life is simple in its beauty and ever so complex in its analysis, for example music and art- didgeridoo and art. The essence of life, the double helix, is an element of natural beauty, the intertwining of the infinite helices that contain in details the story of mankind, rhythm and rhyme.

We sat at the birthplace of cybernetics in Italy, the study of the machine that is man, the villa of Silvio Ceccato in Montecchio Maggiore, just below the castles of Romeo and Juliet, and we ponder objective reality as we gazed over central Veneto, spread out below on the plain. We are in the generous and kind hands of Silvio’s granddaughter Riccarda Silicani Ceccato to experience a realisation of this paradox of simplicity of beauty and the complexity of its study – to combine didgeridoo and art.

The occasion is the opening of an exhibition of the late so-called schizophrenic artist of the school of Art Brut, Carlo Zinelli. All the works were painted while he was institutionalized following experiences in the Spanish Civil War, his multitude of works represent his desperate means of communication with the world, his vision of its complexity and beauty recaptured virtually every day for over 10 years, once he was freed from his psychological gaol by the possibility to paint – to draw as aborigines and other ancients did – creating their own hieroglyphic languages.

‘Parole, parole, parole’, meaningless alone and only understood if you can see and feel the whole picture. This is not the task for an analyst alone, there are 3000 images and audio records that do not tell the emotion of this human machine or what linkages were activated.

Some may not call this expression of a mind, this language, art? But, since impressionism took away the need for photographic reality and even more for those who appreciate the “art” of Pollack, this art of Zinelli is an intellectual masterpiece. If we try to analyse, we lose its dimensional impact by applying crude mathematical formulae, fourier transforms, similar to attempts to convert a fractal to a possibly measurable form.

Having abandoned my engineering analysis of Zinelli and concluded that it is not my judgment that matters but that of each free mind, it was an inspirational experience to listen to a musical interpretation of the art of Carlo Zinelli, his literary pronouncements interpreted in improvisations by Florio Pozza on the guitar, and hieroglyphically, on the didgeridoo and from the incredible and sensitive voice performing of the actor Nicola Brugnolo. As the evening cooled, and the ladies wrapped their shawls for preservation, the performance of didgeridoo and art captured the emotions of the audience who sat enthralled on their garden seats in the courtyard of the villa.

Bravo! This for me was art, musical creation with emotional intensity coupled with freedom – didgeridoo and art.

It was a unique experience, a surrealistic word and music jam session, never to be repeated and not subject to objective analysis. I now understand a little more of Zinelli, and I promise not to try to measure this experience of didgeridoo and art.

Be free enough to visit Villa Ceccato in summer and seek an experience and find Florio toexperience his didgeridoo and art.