Radio & Television
His activity was very intense both in radio and television. Here are some of his own programs but there were many appearances in special programs or as a guest artist. More information is available in the section Production/Perfonmances
"Por los caminos del Arte" . The seventies. In Nicomedes' words: "The double purpose of the program is to show, on the one hand, the interrelation that exists between all the arts of all the peoples of the world, whatever their degree of development, and on the other, that all the paths of art can and should lead to the integration of the national, continental and world community.
"Danzas y canciones del Perú". Since the mid-1970s.
Vídeo. Panamericana TV. 1978 (Canal Youtube de MR SiCoDeLiCo)
"Romancero de las calles de Lima".
According to the contract: "Nicomedes' commitment is to recite or narrate writings about the streets of Lima, and he must also write the verses for them. The duration of each writing shall not exceed five minutes, each one of them constituting a radio microprogram. Such programs may be broadcasted up to two per day, being previously recorded on tape. This work will be carried out during three months from June 2 to September 2 inclusive"
"Así canta mi Perú".
Radio América. De Lunes a Sábado de 12.00 a 12.30p.m.
Con voz que aflige y que alegra, / con voz de quena y laúd, / con voz indoblanquinegra / ¡Así canta mi Perú...!
"América canta así".
Radio América. De Lunes a Sábado de 12.30 p.m a 13.00pm
En Maya, quechua y aymara, / araucano y guarani; / con arpa, bombo y antara / ¡América canta así!
"Música por la Ruta del Sol". From 1978.
Program "Así canta mi Perú". November 1975.
Interview with Horacio Guarany
He only worked in radio
Radio Exterior de España.
Radio Exterior de España (REE) is a public broadcasting media, dependent on Radio Nacional de España (RNE), which is responsible for transmission via satellites, Internet and HF (popularly known as Onda Corta) for Spaniards outside the country and for foreigners interested in Spain. It began broadcasting on shortwave on March 15, 1942.
Activities performed by Nicomedes at Radio Exterior.
On a daily basis, he conducts personal interviews, recorded in situ or telephone interviews at national and international level.
He processes his own daily interviews. It also selects the chronicles and interviews received daily at Central Control from the Regional Centers. The press releases sent to him by the many organizations and institutions contacted by the program. And finally, he extracts from the sound archive the music and words needed for the editing.
He writes the scripts for their participation in the daily program, photocopying them for handling, recording and archiving.
He is the announcer of the programs that are recorded daily.
Nicomedes suggested including two new broadcasts in Quechua and Guarani. At that time, REE was broadcasting in English, French, Arabic, Russian, German and Sephardic, and Nicomedes demonstrated the importance of these two languages. In 1989 the project was launched. And it was he who was in charge of finding people in Madrid who spoke these languages to translate the texts. These broadcasts were on the air until 1993.
"Ruta del Sol" (1982-1985)
Since June 1982. It was broadcasted at half past one in the morning to reach America at eight o'clock at night and included both what was happening in Spain and in America (related to each other).
"Cita en España" (1985-1989)
Presented with a Carlos Seco.
From 1985, with the new director of Radio Exterior, the news is limited to give everything that happens in Spain, related to Latin America. Last program: January 13, 1989
"Encuentro en el ´92: Quinto Centenario". (1989-1991)
Broadcast on Sundays. First program; January 15, 1989.
Nicomedes' job is to comment on books and publications.
He recounts the most important events related to 1992. Program with four main points: Fifth centenary; Seville Expo; Madrid European City of Culture; Barcelona Olympics. The first point, the Fifth Centenary was the most important, all the acts related to the event were covered, that made that all the great authors and also the new values of literature and everything that had to do with the world related to the Ibero-American art went through the program.
"Crónicas de ida y vuelta" (1991)
It is broadcast on Saturdays as part of Radio Exterior's 'World Service'. .
Since July 1, 1991
“París se llena de cisco... ¡y carbonería!”, por Julia Wun.
Diario la República. April 13, 1987.
- ¿How was 'Cita en España' born?
-It started in 1982, under the name 'Ruta del Sol'. I already had a similar program on a Peruvian radio station in Lima. It was broadcast at half past one in the morning so that it could reach America at eight at night and it included both what was happening in Spain and what was happening in America (related to each other). From 1985, with the new director of Radio Exterior, we limited ourselves to give everything that happens in Spain, related to Latin America, that is why it is now called 'Cita en España' (Rendezvous in Spain).'
-¿How do you run the program?
-It's about Ibero-American themes and characters on Spanish soil. I do interviews, and there is a backdrop or a feature that is music from the American continent.
-...And I had an idea that your program was of a folkloric nature...
-It has never been folkloric. What happens is that our America is folkloric? America has two instances: either you look at everything from an academic, totally university prism or you look at everything through the charango and the quena. But the same event can be looked at from both instances in reality. I, perhaps following the example of José Carlos Mariátegui, have never looked at things from an academic, sociological, ethnological or anthropological point of view, but from the popular roots of things. Whether it's about problems as crucial as the foreign debt or problems as simple as some religious festivity, which sometimes provokes claims or special requests... but that means you have an audience, and that's good. The program itself, it is true, has had in its beginnings a rather traditional, traditional character, but little by little it has gone to the political, economic and sociological.
-However, you continue to spread American culture, don't you?
-Look, radio here in Spain, as you have seen, both FM and shortwave, is necessarily talk radio. Very little music is played, minimum percentage. It's nothing more than bursts and things like that... although there are stations that are totally musical... in general it's not like that. I was in a program that was almost informative, without being so. So, we have nothing more than curtains, bursts to mark the change from one information to another, and to alternate, to leave a cushion of a minute, in case the continuity is short... It is there where I take advantage to put folkloric music, because I have here more than 3000 Lp. records from all the Ibero-American continent.
-And does Peruvian music get any special treatment from you?
-It is that in Spain they do not distinguish the music of one country or another. Generally they want a range of the whole continent. Now, some countries are more promoted than others. They generally look at things at a Caribbean, Andean, Central American and Southern Cone level, so it forces you to be very continental, although I was before coming to Spain? But what I have done is a series: 'Juglares de nuestra América', which is a kind of projection of the Spanish romancers in America, but also starting from a pre-Columbian romancero; from these Aztec poets who called them piucatique, from the Inca poets, the amautas... I follow all this path until I reach the end of my career. ... I follow all this way up to the present day, and this, country by country, starting with the Caribbean, Central America, down the Amazon to Brazil and the Southern Cone, and the Andean countries... in total 18 chapters
-You won an award with one of these, didn't you?
-Yes, last year I proposed one of these chapters, the one dedicated to Panama, in the fourth edition of the International Broadcasting Award (Spain). I was awarded the Pablo Serrano trophy-sculpture. The chapter was called 'Los mejoraneros panameños'.
-And the other chapters of the series?
-Well, three are dedicated to Mexico, two to Peru (one to the values of the Quechua language, another to the mestizo values and another to singers of tristes and cumananas). In short, it is a work that now I have been asked to take it to the records, for the transcription service of Radio Nacional de España. I also plan to publish a book that will be the literary part of this one, because there are sectorial groups of the Panamanian singers, of the Peruvian decimists until 1982 (which I did), but there is no continental work, even starting from the pre-Columbian period of the old Spanish medieval romancero.
- And when will this edition be ready?
-It depends on when there will be a publisher available.... I am thinking of proposing it to the Institute of Ibero-American Cooperation and if they do not have a publisher, the most feasible thing would be to publish it in our continent, perhaps in Colombia or Mexico, or I would enter it to participate in the contest of the Iberoamerican Americas in Cuba. I also have other things in preparation, and even more advanced, like this work I am doing on the presence of the black contribution in Peru. I am very interested in having it published, although I have not finished it yet, but these are things that could be ready by the end of this year or the beginning of next year.
-And new albums?
-The work I do in Spain does not allow me to record anything. The whole morning is dedicated to interviews, and to receive information from the provinces, and the afternoon for mixing and recording; I return home around nine o'clock at night, usually after attending a conference or giving a recital. For the rest, I think that everything I had to do in records was done in Lima. I made my first record in 59 and my last one in 80, before leaving Peru.
Thematic series for Radio Exterior de España
(apart from regular programming)
Juglares de nuestra América.