Silvia Ocougne / Tuzé de Abreu

In ILU ILONLO Sivial Ocougne performs on various guitars – cavaquinha, viola do coxo, banjo-bando, craviola and others – that come from the different regions of Brazil and represent different trends in Brazilian music. In addition, especially prepared acoustic and electric guitars are used and played as table guitars or traditionally. The original sounds are first alienated acoustically by means of different materials and then computer-processed (max smp) in a second step. When the various resulting layers of sound are projected into the room, it feels as if traditional Brazilian sounds and rhythms were displayed under a kind of magnifying glass or prism: a re-interpretation through alienation and filtering. It is this alienation, this misinterpretation - a productive misinterpretation in a cultural and aesthetic sense – that opens up new perspectives on Brazilian music.

In Descomposições Bahianas Walter Smetak’s musical theories mingle with experiences from “Musica Popular Brasileira” and the “Tropicalismo” in what Tuzé Abreu describes as “Deconstrutivismo Pós-Tropicalista”.

Tuzé does not regard himself as only a singer and flute virtuoso but as a musician who uses all available means to present his musical ideas. He is a metropolitan “cantador” (originally meaning a street singer, a minnesinger from the North or Northeast of Brazil), a composer exploring the sound world, the rhythms and the body language of Brazilian music and culture.