Paquito D'Rivera discusses art, literature, politics and music with musical interludes with Enrique Del Risco. Radio personality Candice Agree moderates the conversation.
Bio
Candice Agree
Candice Agree is well known to New Yorkers as a classical music radio host. Most of her 25-year broadcasting career has been in New York. Heard regularly from 1995 to 2009 on 96.3FM WQXR, the classical radio station owned by the New York Times, she was heard most recently Saturdays and Sundays from 7am to 1pm, as well as on special programming, including Chamber Music from the Kosciuszko Foundation, In the Gardens of Spain, broadcasts of the Boston Symphony Orchestra, UBS-Verbier Festival Orchestra and more.
She's written and/or voiced special promotional packages for the Austrian Tourist Board, the Tourist Office of Spain, and the tourist boards of the Spanish regions of AndalucÃa and Navarra. At CBS News since 1999, Candice presently is heard as promo and off-camera announcer for Sunday Morning, hosted by Charles Osgood, and off-camera announcer for The Early Show: Saturday Edition.
Paquito D'Rivera
Paquito D'Rivera is a Cuban alto saxophonist, clarinetist and soprano saxophonist.
Enrique Del Risco
Enrique Del Risco Arrocha is a Cuban writer. He has published many collections of short stories, among them Obras encogidas (1992), Pérdida y recuperación de la inocencia (1994), Lágrimas de cocodrilo (1998), Leve Historia de Cuba (2007) and ¿Qué pensarán de nosotros en Japón? (2008) which was awarded the Fifth Premio Iberoamericano Cortes de Cádiz. He has also authored two books of essays: El Comandante ya tiene quien le escriba (Miami, 2003) and Elogio de la levedad. Mitos nacionales cubanos y sus reescrituras literarias en el siglo XX (2008). He is the coeditor of Pequeñas resistencias 4: antología del nuevo cuento norteamericano y caribeño (2005). Del Risco contributes regularly to literary and cultural venues in Spain and the U.S. His work has been translated into English, German and Polish. He is currently a lecturer in the Spanish and Portuguese Department at NYU and teaches Creative Writing workshops. He lives in West New York, New Jersey.
Visual, performing, and literary arts that developed in Mesoamerica, Central America, South America, and the Caribbean after contact with the Spanish and Portuguese beginning in 1492 and 1500, respectively. When Europeans arrived, they came with artistic traditions dating back to antiquity. For centuries, indigenous American peoples had similarly formed civilizations with their own unique artistic practices (see Native American arts). The importation of African slaves led to the presence of long-standing African arts in the region as well (seeAfrican arts). At the time of colonization, the architecture of many native centres was destroyed and replaced with European-style churches and buildings. During this period, a combination of European and indigenous imagery led to unique religious sculptural and decorative art forms. As more European artists immigrated to the new land, Iberian artists brought with them elements of the styles that were current in Europesuch as the Renaissance, Baroque, and Rococoto art and architecture. The most notable regional style of the 18th century was known as Churrigueresque, an elaborately decorative style used in architecture, sculpture, and decorative arts. Throughout the 19th and 20th centuries, Latin American artists and architects continued to experiment with a variety of Western stylesincluding Romanticism, Neoclassicism, Modernism, and postmodernismbut increasingly adapted them to reflect Latin American themes and, often, political concerns. Indigenous music was varied before colonization. The main instruments seem to have been rattles or shakers (e.g., maracas) and flutes of numerous kinds, including panpipes. Under European influence, harps, violins, and guitars were adopted (seemariachi). Indigenous scales were three- or five-tone, and choral singing in parallel lines was common in some areas. Spanish and Portuguese music contributed verse forms and self-accompanied solo singing. African influences on rhythm have included the use of repetitive patterns to accompany extended improvisation and the prevalence of two- and four-beat patterns, particularly in Caribbean music; the African tradition can also be seen in the use of drums and of syncopation. Iberian dance rhythms and features, such as hand clapping and the use of scarves and handkerchiefs, carried over into many hybrid forms of music and dance. Especially in the 20th century, forms of popular music and dancesuch as salsa, tango, samba, and bossa novarepresented a blending of native and Western traditions. During the colonial period, Latin American literature reflected trends in Spanish and Portuguese literature, and it consisted mostly of chronicles of conquest. As the colonies developed their own character and moved towards independence, patriotic writings became prominent. In the mid-19th century, the cuadro de costumbres, or sketch of contemporary customs, developed into a realistic novel of manners. Beginning in the late 19th century, authors in the Modernismo movement focused on art for art's sake. Latin American literature came into its own in the 20th century, with movements such as magic realism gaining international prominence. See also individual artists by name, such as Frida Kahlo; Oscar Niemeyer; and Diego Rivera; and authors by name, such as Jorge Luis Borges; Gabriel García Márquez; and Pablo Neruda.