Mighali Joseph, "Zimba" differed from the others. Playing for him was laughing.
He did his face and his whole body. A broad laugh, contagious, light and inviting, which made only 'her' scene. Holds within itself a great legacy psychic and material. He was proud, conscious of the responsibility he had to. A legacy that was his blessing. "Tracing back along the arc of the story of four generations of family Zimba Aradeo" says Sergio Torsello, in the beautiful "Zimba, voices, sounds, rhythms Aradeo" published in 2004 by Kurumuny, "means entering into a microcosm in which all parade the classical topos Salento folk culture in the last fifty years: the Taranto, music therapy, the techniques for the tambourines, the contemporary stage of the revived 'pinches'. It 's like being at the center of an ongoing game of mirrors in which are reflected sounds, images and words that mark time' sacred 'and the profane in an indissoluble unity. The pictures, mirror, yet symbolically opposed both daughters of the same story, are those of Frank Zimba father, dancing on the image of St. Paul, and the patina of the most famous of Zimba, Pine, an extraordinary interpreter of himself in 'Sangue Vivo' , a memorable icon winsperiana Salento in the balance between modernity and tradition, a symbol of the renaissance of the characters of the pinch. "
think art means to think of beauty. And beauty is power, grace that changes to the Act in place. The beat of the tambourine, "this small, simple tool built on the skeleton of the 'farnaro', which served as a sieve for women to 'discern' the meal ', was the work of the wonderful life of Pino Zimba. I still feel his hand in the digital spectrum to deliver the history of popular music of Salento, but we will miss his generosity, enthusiasm, skill and his eyes always on alert, attentive to build the unique magic of dance.
Maya Deren writes it 'The Knights of the Divine Voodoo': "If in the chorus, you hear a voice suddenly emerge only with a special emphasis, or whether, in the crowded circle, including all the bodies that move, if they notice any whose movements exceed those of the crowd and become spectacular is a sign that a loa (deity status) has arrived. Because if the sign of the dedication of a man lies in his loa to serve in humility, the sign of the devotion of a loa to humans is in its full manifestation. So the virtuosity belongs to the gods. " Here, Pino Zimba was a virtuoso in humility has served the sources that give life, continuity and renewal of tradition, and humbly accepted the gift from the tradition that he was.
MM
