Aquiles has obsessively favoured scrap material from the bodywork of old cars or containers of the most varied types to make small walking human figures, or perfectly flattened squares grouped according to an impeccable arrangement. He has not abandoned canvas, however, using a combination of techniques to produce an abstract work where graffiti connotes the emotional impact in the direction that the artist is interested in.
Originated during the late 19th century, this vocal, instrumental and dance genre blends elements from African and Spanish music forming a synthesis that is considered one of the most representative in the formation of full-fledged Cuban musical expressions. It was born in the rural eastern provinces of the island with an unstable and precarious instrumental format, but on its arrival in Havana during the first decade of the nineteen hundreds, its format became established in ensembles such as the sextet (formed by a tres-a small guitar-like instrument with three sets of double strings-a marímbula-an unconventional instrument made of a soundbox with several metal bands held in place in the middle-, bongos, guitar, maracas and claves) and
later on, the septet (tres, double bass, bongos, guitar, maracas, claves and trumpet). Although at first it was looked down on by high society and would even be officially prohibited because it was 'immoral', it eventually ended up becoming acknowledged-and fashionable-in Cuba's music scene, achieving success also in New York and Paris during the 1930s. During the mid 20th century, it would be performed by ensembles and jazz bands, including Benny Moré's, and decades later by groups with very different structures, becoming in the long run an essential component of salsa, whose world success would reaffirm a refrain of a son written by Ignacio Piñero: 'Son is sublime for the soul's delight.'
| Son in Cuba |
| by CubaAbsolutely Team |
Cuban Music
Cuban Music
