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Cultural policy I l

in Peru i Prepared by the National Institute of Culture

Studies and documents on cultural policies

In tbis series :

Cultural policy : a preliminary study Cultural policy in the United States, by Charles C. Mark Cultural rights as human rights Cultural policy in Japan. by Nobuya Shikaumi Some aspects of French cultural policy, by the Studies and Research Department of the French

Cultural policy in Tunisia, by R& Said Cultural policy in Great Britain, by Michael Green and Michael Wilding, in consultation with

Cultural policy in the Union of Soviet Socialist Republics, by A. A. Zvorykin with the assistance of

Cultural Doliev in Czechoslovakia, by Miroslav Marek with the assistance of Milan Hromidka and

Ministry of Culture

Richard Hoggart

N. I. Golubtsova and E. I. Rabinovitch - -

Josef bro& Cdtural policy in Italy, a survey prepared under the auspices of the Italian National Commission for Unesco

Cultural policy in Yugoslavia, by Stevan Majstorovid Cultural policy in Bulgaria, by Kostadine Popov Some aspects of cultural policies in India, by Kapila Malik Vatsyayan Cultural policy in Cuba, by Lisandro Otero with the assistance of Francisco Martínez Hinojosa Cultural policy in Egypt, by Magdi Wahba Cultural policy in Finland, a study prepared under the auspices of the Finnish National Commisson

Cultural policy in Sri Lanka, by H. H. Bandara Cultural policy in Nigeria, by T. A. Fasuyi Cultural policy in Iran, by Djamchid Behnam Cultural policy in Polund, by Stanislaw Witold Balicki, Jerry Kossak and Miroslaw Zulawski The role of culture in leisure time in New Zealand, by Bernard W. Smyth Cultural policy in Israel, by Jozeph Michman Culturd policy in Senegal, by Mamadou Seyni MBengue Cultural policy in the Federal Republic of Germany, a study prepared under the auspices of the

Cultural policy in Indonesia, a study prepared by the staff of the Directorate-General of Culture,

Cultural policy in the Philippines, a study prepared under the auspices of the Unesco National

Cultural policy in Liberia, by Kenneth Y. Best Cultural policy in Hungary, a survey prepared under the auspices of the Hungarian National

The cultural policy of the United Republic of Tanzania, by L. A. Mbughuni Cultural policy in Kenya, by Rivuto Ndeti Cultural policy in Romania, by Ion Dodu Balan with the co-operation of the Directorates of the Council of Socialist Culture and Education

Cultural policy in the German Democratic Republic, by Hans Koch Cultural policy in Afghanialan, by Shde Rahe1 Cultural policy in the United Republic of Cameroon, by J. C. Bahoken and Englebert Atangana Some aspects of cultural policy in Togo, by K. M. Aithnard Culturalpolicy in theRepublic of Zaire, a study prepared nnder the direction of DI Bokonga Ekanga

Cultural policy in Ghana, a study prepared by the Cultural Division of the Ministry of Education

Cultural policy in the Republic of Korea, by Kim Yersu Aspects of Canadian cultural policy, by D. Paul Schafer Cultural policy in Costa Rica, by Samuel Rovinski Cultural policy in Jamaica, a study prepared by the Institute of Jamaica Cultural policy in Guyana, by A. J. Seymour Cultural policy in Peru, by the National Institute of Culture

The serial numbering of titles in this series, the presentation of which has been modified, was

for Unesco

German Commission for Unesco

Ministry of Education and Culture of the Republic of Indonesia

Commission of the Philippines

Commission for Unesco

Botombele

and Culture, Accra

discontinued with the volume Cultural policy in Italy

Published in 1977 by the United Nations Educational, Scientific and Cultural Organization, 7 Place de Fontenoy, 75700 Paris Printed by Imprimerie des Presses Universitaires de France, Vendôme

ISBN 92-3-101470-6 Politica cultural del Perú 92-3-301470-3

0 Unesco 1977 Printed in France.

Preface

The purpose of this series is to show how cultural policies are planned and implemented in various Member States.

As cultures differ, so does the approach to them; it is for each Member State to determine its cultural policy and methods according to its own conception of culture, its socio-economic system, political ideology and technological development. However, the methods of cultural policy (like those of general development policy) have certain common problems; these are largely institutional, administrative and financial in nature, and the need has increasingly been stressed for exchanging experiences and information about them. This series, each issue of which follows as far as possible a similar pattern so as to make comparison easier, is mainly concerned with these technical aspects of cultural policy.

In general, the studies deal with the principles and methods of cultural policy, the evaluation of cultural needs, administrative structures and management, planning and financing, the organization of resources, legis- lation, budgeting, public and private institutions, cultural content in education, cultural autonomy and decentralization, the training of personnel, institutional infrastructures for meeting specific cultural needs, the safeguarding of the cultural heritage, institutions for the dissemination of the arts, international cultural co-operation and other related subjects.

The studies, which cover countries belonging to differing social and economic systems, geographical areas and levels of development, present therefore a wide variety of approaches and methods in cultural policy. Taken as a whole, t'hdy can provide guidelines for countries which have yet to establish cultural policies, while all countries, especially those seeking new formulations of such policies, can profit by the experience already gained.

This study was prepared for Unesco by the National Institute of Culture, Lima.

The opinions expressed are the authors' and do not necessarily re%ect the views of Unesco.

.

Contents

9 Introduction

11 Bases of the cultural policy of the Peruvian Revolution Preliminary considerations 11 Historical background 13 T h e revolutionary idea of culture 14 Basic principles of a revolutionary cultural policy 15 Distribution of roles in cultural action Constant components of cultural action Final consideration 25

The National Institute of Culture Background 26 Organic structure 26 Aims, objectives and responsibilities of the institute 28 Cultural promotion 29 Cultural activities 32 Conservation of national monuments and the cultural heritage 39 Regional museums 58 Centre for the Investigation and Restoration of Monuments 59 T h e National Institute of Culture and the COPESCO Plan 63 Training in the arts 65

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26

Introduction

This study is made up of two parts. In the first, Bases of the Cultura1 Policy of the Peruvian Revolution, an attempt is made, in the context of the changes taking place in Peru, to analyse our cultural situation and give a coherent account of the action of the State in the field of culture. The document was prepared in 1975 by the General Cultural Board, which is the principal advisory body of the National Institute of Culture.

The second part deals with the National Institute of Culture, a decentralized public body in the education sector, which is responsible for proposing and implementing the cultural policy of the State in the various fields within its sphere of action, including cultural promotion, cultural dissemination, the preservation of the monumental and cultural heritage and training in the arts.

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Bases of the cultural policy of the Peruvian Revolution

Preliminary considerations

In the course of the development of the social sciences in this century, the idea of ‘culture’ has been defined in a variety of ways. A well-known book published by Alfred L. Kroeber in the 1940s contains more than two hundred different definitions of ‘culture’.

Among field anthropologists the idea has been gaining ground that ‘culture’ is the sum total of the ways in which a given society expresses itself and acts-its customs and institutions, its beliefs and myths, its family organization, its tools, weapons, clothing, forms of government, meals, songs, funerary practices, etc. This overall interpretation of the term has yielded excellent practical results in inventories made by field anthropologists and has been adopted by a number of social science disciplines.

According to Peruvian Revolutionary beliefs, culture is essentially the active and dynamic complex of values, both material and symbolic, which stimulate, govern and regulate from within, daily relations between individuals and social groups in the community. Culture, thus understood, embraces the mode and quality of life in the community. Hence economics and politics, science and education, morality and art, research and technology, work and leisure, as well as the various kinds of relations between people in their place of work, the home, the neighbourhood and the munici- pality constitute, in practice, different and complementary dimensions of the national culture. Viewed in this way, culture is seen to be the very fabric of daily life, and nothing that occurs in life is extraneous to it.l

There is however a more restricted meaning of ‘culture’, which is accepted by international consensus and, accordingly, there are in all

1. Speech by the Peruvian Minister of Education, General Ramón Miranda Ampuero, at the National Institute of Culture (on 7 January 1976).

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countries of the world cultural organizations carrying on closely related activities in the fields of art, technology and science.

This restricted sense of the word ‘culture’ is universally accepted in the contemporary world of administration, and in every country or international organization (e.g. Unesco) there are offices, secretariats, ministries, institutes, departments dealing with ‘culture’, ‘education and culture’, Lculture and science’, etc. In Peru, the expression ‘culture’ is used in this sense only for operational and administrative purposes, but with a clear awareness of the danger that this limitation may entail-that of restricting or dividing up the sphere of culture, so that it applies only to the private and specialized field of certain professional élites.

The humanistic outlook of the Peruvian Revolution means that the community, its basic organizations and workers in science and culture are seen as the collective subjects of cultural development, as its source and its end.

The cultural policy of the Peruvian Revolution must find expression in a series of practical achievements based on principles corresponding to the plans for the new society which the Revolution seeks to build. T h e aim is to bring into being a cultural community which, in the intellectual, scientific, artistic, technical and other fields, is a faithful reflection of that society and expresses the thought and action of the new Peruvians.

The transformation of economic structures and the creation of a just society, with real-not merely theoretical-equality of opportunity for all men and women is a fundamental condition for the formulation and application of a revolutionary cultural policy. What is more, there is a deep- seated connection not only between cultural policy and the elimination of injustice, but also between culture and the new education. Education complements economic liberation and enables the individual to fulfil himself by developing his spiritual, intellectual and moral potential.

All revolutionary cultural policies must therefore be founded on a just social order and on education that is of an integrating, critical, creative and liberating nature. In stressing this relation, it is well to point out the link between a cultural policy, as described here, and the profound and far-reaching reform being carried out by the Ministry of Education. Sections I and II of the Statement of Principles of the General Law concerning Education-Decree Law No. 19326-constitute the foundation for a truly revolutionary cultural policy. The formulation of a new cultural policy must be based on those principles if it is to be in line with the process of arousing the awareness and raising the level of attainment of Peruvian citizens which is now taking place.

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Historical background

STRUCTURAL DOMINATION

In cultural matters, Peru, like most countries in our subcontinent, has suffered the logical consequences of a structural domination which goes back even before the Spanish conquest, at least to the Empire of the Incas. Domination necessarily brings with it the phenomena of disintegration, marginalization and centralization which are characteristic of the condition of dependence. Such dependence, furthermore, not only implies external control over the whole of society, but also gives rise to successive internal forms of domination, with their concomitants of regional or ethnic isolation, priority being given to certain partial forms and contents over others.

However, the economic aspect of domination is not necessarily to be identified with the cultural aspect, for they do not always coincide. In the first place, ‘cultural colonialism’ is primarily an urban phenomenon which in many cases does not extend to the countryside, or affects it only par- tially. This is shown by the fact that, for centuries, the tyrannical economic exploitation of the Indian by Spanish overlords from beyond the seas did not irreversibly destroy his inner world, with its traditional outlook and mythical values, which the rulers failed to appreciate.

CULTURAL DIVERSITY

Peruvian society is built upon a succession of native cultures; well before the Spanish conquest, a complex of different cultural forms was in existence, some of which were amalgamated and coexisted under the Inca Empire. When Western culture reached the Americas and took hold there, this in turn led to a succession of complex cultural contributions, first through the Spanish vice-royalty and, following the political emancipation of Spanish America, through the republic. The latter, having put an end to the relative isolation of the colonial period, became receptive to the cultural influences of the West, principally those stemming from the successive economic and ideological relations with countries such as France, the United Kingdom and the United States of America.

This explains one of the principal characteristics of the pluricultural and plurilinguistic image of contemporary Peru-the diversity of its sources, some of which, powerful and deep-flowing as they are, will inevitably make the process of cultural integration di5cult and slow. Without jeopardizing the unity which is to be achieved, this process will probably leave substantial regional traces, the coexistence of which will undoubtedly prove interesting.

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ERRONEOUS IDEAS ABOUT CULTURAL LIFE

Not always unconsciously, traditional governments, foreign and national centres of economic power and, later, the mass communication media have combined to dehe, within the capitalistic structure of Peruvian society, a number of ideas, according to which cultural life was considered to be: A luxury, comprising unnecessary activities carried on by the individual

and society, which was regarded as an acceptable occupation in so far as it was healthy entertainment and relaxation, and indeed advisable, once other more important tasks had been accomplished, for the individual’s self-fulíilment. There was no awareness that culture was of profound importance for the development of the person and the community.

A n activity for the élite-those who were specially gifted in certain fields of thought, art and science-and consequently beyond the reach of most people.

A n activity which could properly be promoted by judicious and lucrative commercialization, resulting in the production of cultural goods that would be in demand in a consumer society.

In some cases, an activity that was tendentious or even actually subversive, one which had to be stopped and crushed, if not severely punished.

In such circumstances, it was natural that cultural coteries or circles should be formed and that the material and moral bases needed for the development and continuity of autochthonous cultural forms should be lacking.

The revolutionary idea of culture

When the Peruvian Revolution was launched, it became more urgent-and more feasible than before-that we should gradually build up a national culture that would express our identity and combine an autonomy that can never be relinquished with the universal character that every culture sure of itself must have.

The new role assumed by the Revolutionary State and the newly founded basic social bodies, which provide for participation, calls for the formulation of a humanistic-revolutionary cultural policy that can give expression to what was previously unco-ordinated and oppressed. The Peruvian Revolutionary process, which is inimical to all forms of monop- olistic concentration of power, thus requires a cultural policy which takes into account the need to open up all avenues leading to creative activity among the people and at the same time to reject commercial as well as State forms of control, which are equally pernicious ways of stifling free cultural expression.

In drawing up its cultural policy, the Peruvian Revolution, the basis of which is a social democracy with provision for participation, aims at

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providing conditions which will enable Peruvian men and women to exercise their critical judgement and develop their creative abilities, so that their cultural expression may reflect the nation’s authentic personality. By virtue of its participatory and humanistic character, the Peruvian Revolution further requires the establishment of a cultural policy which will enable all Peruvians, through the exercise of their freedom, to recover their capacity for self-assessment.

A cultural policy should be founded on the principles of freedom and social justice, the safeguarding and promotion of national and universal cultural values, the availability of such values to all the social sectors of the country, and a direct connection between the cultural policy and education. The new Peruvian education system lays down guidelines for all these factors, breaking up the classical moulds of exclusivity in education, so that all members of society are either teachers or pupils. These guidelines will form the channel for the spiritual current needed to generate an authentic national culture.

Basic principles of a revolutionary cultural policy

DECOLONIZATION OF CULTURE

A society with the characteristics proclaimed by the Peruvian Revolution, which is marked by its rejection of all types of domination by some nations or individuals over others, must deliberately adopt an unmistakably anti- imperialist and anti-colonialist position. This undeniable fact also means that the slightest trace of xenophobia should be definitely repudiated, so that there is always a distinction between cultural domination and fruitful cultural exchanges.

CuItural decolonization must be looked upon as a dialectical process wherein the affirmation of a national identity often calls for the intelligent use of any human achievement, whatever its origin, which may contribute to that end. If this is true in the economic field, where the nationalization-not the elimination-of certain firms (and, so far as possible, their technology) is the truly revolutionary way, it is even more so in the field of culture. In science, art and technology, a revolutionary cultural policy will favour the nationalization-or assimilation-of all that we need, and at the same time greater appreciation of native or locally developed skilIs and techniques and the attainment of higher standards in them. A n example of such a combination can be found in medicine and pharmacy: a revolutionary society in the Third World, and specifically a Latin American and Andean one such as ours, must be able to use modern, industrially produced antibiotics as well as those traditional remedies which are often unjustifiably overlooked or rejected. Similarly, we must combine training in the use of the most advanced ‘Western’ technology with training which

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will enable us to study, systematize and apply the beneficial discoveries of regional and traditional medicine and pharmacy.

Hence our anti-imperialist and decolonialist cultural policy should combine the rejection of inappropriate foreign cultural values with the establishment of suitable models, constantly enriched by contributions from other countries which are the fruit of a just and free interchange.

GREATER APPRECIATION OF POPULAR CULTURE

Since the aim of a humanistic-revolutionary cultural policy is to replace classical culture by a culture which is not limited to any one race, sex, nationality or creed, the many factors which are apt to distort it must be taken into account. One of these is the frequent confusion between ‘popular culture’ and ‘mass culture’, and we shall therefore draw the following distinction:

Popular culture is the fund of culture-which is never pure, but basi- cally authentic-of the various sectors of the population. This means that a people’s existence and its creative work should be one, so that it has its own characteristics and personality. At the level of artistic creation, popular culture comprises three aspects: (a) anonymous tradition (folklore); (b) the works of known authors, written in a folkloric style, which are traditional, but inevitably bear the author’s stamp; and (c) popular works written in a free style, which are not traditional, but may become so if, by virtue of their inherent qualities, they become popular, are praised and change, until they are perfectly adapted to the popular mentality; as the generations pass they become anonymous, but they enrich the natural dynamics of folklore.

Mass culture, on the contrary, is the by-product imposed on these sectors by those inside or outside the country who have been in a position of economic, social, political or cultural domination. Culture of the masses, or for the masses, is nothmg more than the reverse side of the élitist fabric of societies which are divided into classes and socio-economic, religious or ethnic groups, and which provide their educated minorities with opportunities to enjoy and understand those examples of universal culture that are considered most worthwhile and impressive. This essentially urban phenomenon, which is brought about by popu-

lation density and the advertising of consumer societies through the mass communication media, gives rise to the following undesirable characteristics: (a) depersonalization of the ordinary man, or, in other words, the impairment of his ‘originality’ as a person, by the transfer to him of foreign ideas and criteria as a result of the standardization produced by advertising; (b) alienation, which is not only the transfer of foreign content, but the impairment of the identity of the individual through the adoption of an alien identity, to which he aspires because of its prestige.

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So, in the stage of revolutionary transition towards a social democracy based on participation, a sharp distinction must be made, in regard to cultural policy, between these two antagonistic but coexisting phenomena.

Measures designed to increase appreciation of popular culture, that must be taken with the support of the revolutionary state and the basic social bodies, are an essential part of a humanistic-revolutionary cultural policy.

By enabling groups and individuals to express themselves freely and in their own way, without interference and with a minimum of intervention, the State is fulung its principal role as the promoter of a cultural policy designed to stimulate the most authentic forms of popular expression which will lead to collective self-affirmation.

In this way, by increasing appreciation and awareness of the creative qualities of all Peruvians and by dignifying labour as the source of the various activities related to popular culture, the aim of the cultural policy will be not only to increase appreciation of a body of culture hitherto fragmented and despised but also, for example, to ensure that both works of art and handicraft objects are valued at their true worth. Both will be seen to be the outcome of the effort, talent and vocation of those who made them and, as products of labour, they will both receive the esteem which pre-Revolutionary society denied them.

DEVELOPMENT OF A CRITICAL AWARENESS

The revolutionary principles underlying a cultural policy can only be given effect by respecting and indeed promoting the critical awareness of the individual, both as regards others and as regards himself and his revolutionary commitment. Thus he will be able to demand that his freedom be respected, because that very freedom respects the humanistic and participatory nature of the society which the Peruvian Revolution is building.

Within the socio-economic context of the new Peruvian society, the critical awareness of the new man should enable him to understand the factors which determine the ideological content of the cultural products of all times and all types, so that he may enjoy them and benefit from his own choice of works produced throughout the ages, in whatever circumstances they were created.

Critical awareness, however, should not be understood as being the prerogative of privileged groups who have exclusive rights over ‘culture’ and are consequently qualified to distribute it to those who presumably lack it. On the contrary, it should imply an awareness on the part of the vast majority that they are capable of grasping the structure and content of all forms of cultural expression so as to analyse their deeper meaning and assimilate them fully.

This means that those engaged in creative cultural work will often have

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to change their attitudes and expectations with respect to those who will be the natural beneficiaries of their creative efforts. If culture is a collective experience, then all citizens are producers and consumers of culture. Consequently, not only may no one claim exclusive rights over it, but its development will often be more compatible with the promotion of non- formal than formal education, as it links the experience of work with the acquisition and enrichment of culture.

CULTURAL DEMOCRACY THROUGH PARTICIPATION

The decolonisation of culture leads to a true cultural democracy. A revolutionary and humanistic cultural policy must aim at the socialization of cultural activity.

By cultural democracy, therefore, is meant the removal of those obstacles which prevent or limit the Peruvian’s participation, either as actor or spectator, as creator or interpreter, in all types of creative, interpretative and analytical activity, to which traditionally only small groups of the population have had access; in other words, the elimination of those social or administrative mechanisms and economic differences which prevent most of the population from actually taking part in cultural activities and enjoying them, and which also prevent recognition of the talents and free preferences of individuals and groups.

In a social democracy based on full participation, self-management and self-government, cultural expression will finally become the birthright of all Peruvians. The elimination of dominant social groups, hierarchical and dogmatic systems and behaviour patterns and totalitarian attitudes wdl make it possible to establish a symbiosis between daily Ide and scientific and artistic culture.

None of this will be possible unless the whole capitalist system is transcended, once and for all, and unless we continue to reject State- centred systems.

In formulating such a long-term objective, which is no more utopian than similar ones in other spheres of social life, the humanistic-revolutionary cultural policy is simply charting the course that it should follow during the long transitional stage which the revolution has begun. Without such a transition-whch in itself has a liberating effect-the goal is unattainable; and without such a goal, the transition, as has so often happened, may crystallize into new élitisms, the new and unjustified usurpation of cultural power.

NATIONAL AFFIRMATION IN CULTURE

In a national movement such as that taking place in Peru, the cultural policy is the conscious expression of indigenous values, which are given special support, as well as those which have come from outside our borders

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and form part of the universal human heritage and hence also part of our own.

For sound historical reasons, Western culture, so-called, is the one that has had the most influence on our cultural situation. It is this heritage, parts of which we have assimilated, which-together with indigenous cultural values and non-Western ones-will form the ultimate integrated culture whose universality will be based on the profoundly national character of its underlying principles.

Similarly, since priority will be given to the image of Peru as a bicultural and officially bilingual country-for both Quechua and Spanish are spoken-it will not be possible to overlook the pluricultural and plurilinguistic nature of the country, or the equal rights of each m e m b e r of the various minority cultures.

Distribution of roles in cultural action

ROLE OF THE STATE

Three aspects of the function of the State in relation to cultural bodies and, particularly, in relation to cultural workers may be noted:

Emancipating role of the State’s action in cultural life

Until the h a 1 objective of cultural socialization is attained, the State should play an emancipating role in its cultural action. In order to do this, the traditional pre-revolutionary guidelines which have been used to cope with the problem of culture in Peru must be entirely reformulated. In the fìrst place, in putting the cultural policy into effect, we must do away with the oppressive model of a centralized and paternalistic public administration and pay attention to the leadership that should be provided by persons, groups and institutions concerned with cultural activities, though this does not imply a technocratic kind of culture or the emergence of variant forms, which are undesirable because of their exclusive nature and the risk of manipulation that is implicit in them. One of the first tasks will be that of eliminating obstacles inherited from the past, so that the various forms of cultural expression may develop and a creative pluralism may come into being that can make culture a reality in which individuals and groups can play their part. This task calls for a sustained effort; we shall have to mobilize all our forces, including the State institutions directly concerned with culture, the mass communication media, local governments, the various public sectors, the basic community bodies, etc., so that they may each play their new roles in the emancipating action which the practical application of a revolutionary cultural policy requires.

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Responsibility of public bodies concerned with culture

Part of the State’s new role is to meet the urgent need to define the functions and responsibilities of the public bodies which play a direct and major part in the important work of cultural preservation, restoration, research, promotion and dissemination. It is important that their tasks should be planned and priorities assigned to them, co-ordination machinery set in motion, resources reallocated and the responsible bodies reorganized before the State body which will have the principal responsibility for carrying out cultural action is permanently set up.

This is particularly important in the case of specific bodies and activities which can only be properly organized and financed by the State, for instance, the documentation centres needed to make the information produced throughout the country, as well as the information it has to obtain from elsewhere, available to scholars; another instance is a large national printing-press which would serve the regional publishing houses to be set up in future, without any interference as regards the content of publications; and yet another is the preparation of a cultural map of the country.

Lastly, it should be stressed that the State’s application of its cultural policy cannot and must not be carried out by a single sector only. The task is essentially multisectoral, though it calls for close but comprehensive and flexible co-ordination by a specialized body. Each sector, therefore, should promote cultural activity so as to bring about an awareness of what such activity implies, quite apart from any question of technocratic and economic pragmatism.

Planning of the State’s cultural action

The emancipating task of the State-the promotion of the cultural life of the country-cannot be carried out without effective planning. Such planning should be free of all domineering, paternalistic or manipulating tendencies.

In truly revolutionary planning, the basic principles underlying the design and application of the plan should be constantly borne in mind; this means that it should be participatory planning. This is essential in cultural matters, where abundance and penury are commonly found side by side, at the various local, district and regional levels.

The aim of planning for cultural action must therefore be to meet the needs and requirements of the people and welcome their assistance. By bringing together all the information obtained, from the local to the regional levels, it will be possible to draw up an authentic national plan of cultural action.

National planning for cultural action should give priority attention to the social sectors that are still the least favoured and to the most remote geographical areas. It should promote all forms of participation by the

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people in the task of cultural creative work and dissemination, and should stimulate the expression of the characteristics of each local culture, in order to encourage equal treatment, an authentic cultural interchange and a desire for integration in a much broader cultural entity-the Peruvian nation as a whole.

Revolutionary cultural planning should avoid all restrictions arising from ‘budgetary ceilings’. Rather, considering them as minimum assump- tions, and without paying too much attention to purely financial resources, it should take maximum advantage of the enormous potential to be found in the very spirit of the people and their desire €or collective cultural achievement.

ROLE OF THE MASS COMMUNICATION MEDIA

The mass communication media, especially the socialized press, radio and television, should be considered as being of prior importance. All these media should be used ao as to complement each other in the task of cultural promotion and dissemination. They should stimulate everyday creative activity by the promotion of new values, the critical assessment of known and accepted values, and knowledge and recognition of the cultural achievements of both past and present, as well as more direct contacts, on a large scale, with the cultural achievements of the whole world. AU this makes it even more important that those responsible for the use of the mass media should see that they do not distort the cultural heritage-either universal or Peruvian-and, as has happened in many cases, become vehicles of alienation and ‘de-education’. A certain type of information which w e receive from international press agencies and certain television series are instances of this.

Side by side with the development of the mass communication media, encouragement should be given to any means of fostering individual and group access to the various forms of communicationwall newspapers and serigraphic systems, puppet shows and the theatre, and genuine participation, with discussion, in the programming and management of more complex media such as the press, the cinema, radio and television. The ultimate aim is that these media, instead of being an opportunity for only a few to express their views to all the others, as heretofore, should become the means by which every member of the new society can communicate with other people.

ROLE OF THE COMMUNITY

Fundamentally, revolutionary cultural development, though launched, promoted and sponsored by the State, must be the result of action by the entire community. There is a danger that culture will still be regarded as being the sole responsibility of the State, through its specialized bodies. This assumption has conditioned the attitude of many people so that all

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they do is to seek, more or less successfully, support for a specific project or the approval of State authorities.

But in fact, since culture and its development are the active and permanent product of the creative ability of a people, the enriching contribution of the whole community, through its basic organizations, is absolutely essential. Thus, the pluralistic character of the Peruvian revolutionary process can be seen in the individual and collective forms of expression, in what we might call a constant cultural interaction which, like the educational process itself, is making all Peruvians creators, preservers, propa- gators and beneficiaries of culture at one and the same time.

Thus, for example, the tremendous and difficult task of preserving archaeological treasures or historic monuments in general should be carried out by those who, because they live nearby, can see them as part of the common heritage which has been entrusted to their custody. A similar attitude might be expected with regard to the care of nature, and particularly natural resources, which are often liable to be despoiled.

The aims of the all-round education, liberation and self-affirmation of Peruvian men and women, as enunciated in the General Law concerning Education, will therefore take on their full meaning in relation to everyday tasks. This is how an authentic national culture, one that is both integrated and pluralistic, can come into being.

RECONSIDERATION OF THE ROLE OF INTELLECTUALS

The participation of intellectuals is essential to the process of cultural change, but the nature of that participation must be changed. Clearly, one of our aims must be to do away with the élitism which isolates intellectuals and prevents them from giving their work social and community. significance. They are called upon to serve the people and to discover practical ways of taking part, together with the less fortunate sectors, in the task of transmitting their experiences and expressing their thoughts.

This applies particularly to professional people and scientists, who, in addition to making an intellectual and practical effort to appreciate the needs and concerns of the people, should try to see their scientific and technical work at all levels in a new way, sharing their knowledge through the mass communication media or through programmes of community service. Scientists and professional people should be ready to assess their knowledge in relation to the people’s experience, and should strive to review the function of education and to ensure that each institution becomes a centre for mutual education, decision-making and emancipation.

Such identification of the intellectual with the day-to-day creative work of the people will enable him to become an authentic cultural worker who, without sacrificing anything of his own personality, will find his fullilment in the great task of collective construction.

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Constant components of cultural action

RESEARCH INTO THE CULTURAL SITUATION

Cultural action should be based on thorough research into the profound and complex reality of the country, especially its scientific and artistic wealth, which has been preserved despite internal cultural domination.

Research of this kind will make it possible to get beyond the undesirable hierarchies that are due to an individualistic mentality, and will also bring about a deeper understanding of our pluricultural and multilingual position, of which so little is known and which has generally gone unappreciated.

INTERNAL EXCHANGE

If we are to build a democratic society, based on full participation, there is an urgent need for cultural action to overcome the lack of communication that still exists between the many human groups with different cultural characteristics living side by side, disunited and antagonistic, within the Peruvian community.

Permanent channels must be created for cultural interrelations between these groups, in order to bring about a truly integrated national culture which takes full account of our pluricultural position.

n e s e mechanisms of cultural interrelation should help people to know each other and do away with the cultural control of some by others, which is paternalistic and makes people lose their identity.

In this connection, exchanges between representatives of the cultural creativity of the various human groups within our territory (coast, mountain, forest land, city, countryside) are of prime importance. Cultural action should therefore encourage national groups with differing cultural characteristics to meet each other; contacts between them will certainly be mutually enriching.

STIMULATION OF CREATIVE ACTIVITY

The kind of policy needed is one that will stimulate creativity, and this means working out programmes which help cultural workers to develop their skills, it being understood that liberty is essential to every creative act. Workshops must therefore be available where artists and scientists can apply and develop their creative abilities. Similarly, artistic and scientific competitions should be promoted in order to foster and develop creativity, but so far as possible without encouraging the competitive spirit which often has a bad effect on the creative artist.

Other ways of encouraging creativity include the following: the establishment of mobile science museums, in which provision is made for active participation, and from which the people can learn about scientific techniques and discoveries; the setting up of centres, open to the public, where

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creative cultural activities are carried on permanently and creative artists have an opportunity to communicate with other people; the development of dynamic programmes, using the mass communication media, in which the general public are no longer merely spectators, but have every opportunity to take part.

Special attention should be devoted to a general reappraisal of the social and individual approach to children-who have in the past been overlooked-by setting up institutions and promoting attitudes which will favour the development of artistic, scientific and technological skius, on the basis of carefully planned and effective arrangements for the protection of children. It is also essential to arouse awareness of the importance of ecology and the protection of nature.

PROJECTION OF THE CULTURAL IMAGE

Stress must be laid on the fundamental importance of projecting the cultural image of Peru in all its richness, and specifically as a country moving towards a humanistic and cohesive society. This image must be projected within the country itself, as well as outwards, towards other countries, particularly the Latin American community and the Third World.

In projecting the cultural image within the country itself, the goal should be mutual understanding and communication between even the most distant and most widely differing sectors of the country. Regional characteristics form the starting-point and basis of the unity that must be achieved, so long as they are consistent with the plan to ensure integration and participation. W e must break up the centralist pattern of a capital city acting like a mother country towards the provinces, as if they were colonies, and also the pattern of a capital which is itself a colony of European and North American mother countries, with their monopoly over what passes for universal culture.

Consolidation of the country’s own cultural image also implies its projection abroad. This in turn calls for effective co-ordination between the State bodies specifically responsible for cultural activities and our foreign representatives.

Such co-ordination must also extend to international cultural bodies, so that their services and facilities may be rationally and profitably used.

Within this context, ‘cultural tourism’, as it is called, must be recon- sidered, and its legitimate bases as a human, co-operative and fruitful experience must be reasserted.

There is no question of curtailing the hancial benefits rightfully accruing to a country like Peru, with its tremendous historic, artistic and natural riches, which it should make accessible to its own inhabitants and to the rest of the world. Rather, the tourist industry must be reorganized in such a way that profit-making is not its predominant purpose. Archae-

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ological, historical and aesthetic values should not be sacrificed to facile and immediate financial gain, as still happens. There are recent examples of how the dignity and integrity of peoples and their highest cultural and ethical values may be sacrificed for the sake of the ‘industry without chimneys’.

A revolutionary cultural policy should also give priority to exchanges between human groups-and not only between folk-dancers or performing troupes in general-both within the country and abroad, in order to promote that mutual understanding which leads to brotherhood and peace.

The cultural image of the country should also be effectively projected, both within Peru and abroad, by the audio-visual media, to which special attention should be given, to ensure that they fulfil their important function-that of influencing opinion.

Lastly, museums and libraries must be decentralized, and arrangements must be made for cultural objects to be exchanged between Peru and the rest of the world.

It is the duty of the Peruvian revolution to reinstate a humanistic outlook, open to dialogue between cultures. It must be shown that Peru is prepared to assume its responsibilities as a country rich in cultural values, which it appreciates fully and correctly, and which it makes available without any imperialistic or covetous intentions.

Final consideration

The cultural policy whose bases are set out in this document is directed towards the socialization of cultural activities and the emergence of the new Peruvians in the context of a socialist, democratic and participating society. Such people will have conquered and overcome any alienating inclination towards unjust domination or dependence that might obstruct, frustrate or distort their self-fulament. The Peru of today and tomorrow needs such genuinely emancipated people, who will be the protagonists of a revolutionary cultural democracy.

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The National Institute of Culture

Background

In the earliest days of the republic, the action of the State in the field of culture was channelled through various bodies, especially the Ministry of Education and its predecessors. Cultural promotion, however, received constant support from local authorities, which have traditionally played a prominent role in leading community action. In the 1940s, the Directorate of Cultural and Artistic Extension of the Ministry of Education took official steps to focus systematic attention on the problems of culture. In 1962, the Peruvian House of Culture was established, on the basis of the directorate.

The National Institute of Culture is one of the products of the Revol- utionary government, which came to power at the end of 1968. In the wave of changes which then began, it was impossible to overlook the pressing need for the House of Culture, which at that time had limited responsibilities, resources and in%uence, to be transformed into a new body with sufficient administrative autonomy and the economic capacity to be fully effective in carrying out the tasks of restoring culture to its proper position and promoting, disseminating and democratizing it. So it was that, by Organic Law No. 18799, of the Education Sector, the National Institute of Culture was set up as a public, decentralized body under that sector. Subsequently, Law No. 19268, of 11 January 1972, established the organic structure and defined the aims and objectives of the institute, and from that time onward it took over the responsibilities, resources and property of the Peruvian House of Culture and of the cultural centres in all the provinces.

Organic structure

T h e director-general is the highest authority in the National Institute of Culture, and is responsible for the budget. His second-in-command is the managing director, who replaces him in his absence.

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The General Directorate includes advisory bodies, the chief of these being the General Council for Culture, which helps it to work out the cultural policy of the State and puts forward recommendations and opinions concerning the implementation of that policy. The council’s chairman is the director-general, and it consists of representatives of the Ministry of Education, the Peruvian universities, the Ministry of Foreign Affairs, the National Social Welfare System and three persons of note in the field of culture; the latter are appointed on the proposal of the General Directorate for a one-year term of office.

The technical councils, which give advice in specific branches of culture, consist of qualified professionals. There are at present seven technical councils, one for each of the spheres of literature, art, mass communication, humanities, natural sciences and mathematics, applied sciences and technology, and archives.

The work of the institute covers four areas, for which there are four technical directorates-cultwal promotion, cultural activities, conservation of national monuments and the cultural heritage, and artistic training-around which are grouped the executive bodies, i.e. those directly responsible for accomplishing the institute’s specific ends.

The institute also has advisory, auxiliary and supervisory bodies. The first are the Legal Advice Office and the Office of Planning and Program- ming. T h e auxiliary bodies are the Office of Administration and the Office of Public Relations. The internal supervision of the institute is carried out by the Office of the Inspectorate, which forms part of the Inspectorate System of the Education Sector.

The subsidiaries of the institute, situated outside the capital, are organized into regional branch bodies which, in their respective areas, pursue the aims of the institute as far as their means permit. They have their headquaxters in the capital of one of the provinces in their area, and their directors are advised by regional councils for culture whose member- ship and responsibilities are similar to those of the General Council for Culture.

There are, at present, ten branch offices (in Arequipa, Ayacucho, Cajamarca, Cuzco, Chiclayo, Huancayo, Huánuco, Iquitos, Trujillo and Tacna) and four provincial offices (in Huaraz, Ica, Piura and Puno).

Despite the limitations imposed by the lack of infrastructure, qualified personnel and adequate financial resources, as well as by administrative centralization and concentration, the branch offices, which collaborate with public and private institutions and with the community, are doing consist- ently useful work.

The government policies of regional development and decentralization will gradually make it possible to provide the branch offices with the funds and the decision-making authority that they need for the full accomplish- ment of the institute’s aims throughout the country.

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Aims, objectives and responsibilities of the institute

According to Article 5 of the statutes of the institute, its aims are as follows: To promote, in accordance with State policy, the development and inte-

gration of Peruvian culture, respecting its distinctive regional features and fostering all that contributes to the affirmation of the country’s characteristic values.

To encourage the development of the Peruvian’s creative and critical ability, as the prime ingredient of his self-fulíiIment within the national community.

To protect, preserve and present Peru’s cultural heritage, including monuments, to make the cultural heritage more widely known, and to make all types of universal culture available to Peruvians.

Article 6 defines as its objectives: To promote the development of culture in Peruvian society. To disseminate the various kinds of cultural work. To protect, preserve, present and augment the national heritage of monu-

To provide artistic education. To carry out extension of education. To give advice, at their request, to other State bodies. The responsibilities of the institute are set out in Article 7: To plan, propose and implement the cultural policy of the State. To encourage the expression of the national culture by arranging contests,

competitions and other incentives. To promote the co-operation of individuals and State or private institutions

for the promotion and development of culture. To assess the standard of public entertainment, with the exception of

sporting events and events within the field of competence of the National Board for the Regulation of Foreign Entertainment, and to advise that board.

To supervise public entertainment, with the exception of sporting events, and collaborate with the corresponding offices of the National Public Sector in establishing norms and imposing sanctions.

To conduct, co-ordinate and encourage research on national monuments and the cultural heritage.

To provide artistic education, in accordance with the General Law on Education.

To bring about the spread of education, in accordance with the General Law on Education and in collaboration with the General Directorate of Educational Extension.

ments and culture, and to disseminate knowledge of it.

To publish and disseminate works of cultural importance. To protect the intellectual property of authors and performers.

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To promote and organize international cultural exchanges. To maintain relations with similar bodies in other countries. To represent the country officially in the sphere of culture. To assess the standard of private cultural bodies in the country, and grant

To impose fines in accordance with the legal norms and relevant regdations. To lay down technical norms within its sphere of competence.

them o5cial recognition accordingly.

Cultural promotion

If we agree that culture may be defined as ‘all the active and dynamic values, both material and abstract, which motivate, govern and regulate from within, the day-to-day relations between individuals and social groups within the community’, then cultural promotion activities should aim to stimulate the cultural values of the people, providing encouragement and incentives, primarily, for a horizontally structured work plan, so that the depositaries of the cultural heritage may themselves be its managers and its beneficiaries, its producers and its consumers. By this means, the creative and critical ability of the community is stimulated, while at the same time its eyes are opened to its own identity.

This is particularly important in a country such as Peru, which is culturally complex, multilingual, with a sizeable rural social substratum, and heir to age-old traditions. Its position as a dependent country empha- sized the contradictions in the development of Peruvian culture. O n the one hand, the intermingling of the values of Western civilization with those of the substratum of native culture gradually gave rise to a hybrid culture. On the other hand, the indigenous values still show lively resistance, so that the traditional world-view of a vast sector of the population has survived. As a consequence, a robust oral tradition continues to exist-since the colonization of the country made outcasts of vast sectors of Quechuan- speakers, who had no school education-and so do ritual behaviour patterns and artistic achievements which are evidence of the vigour of a traditional popular culture.

One fundamental task of cultural promotion is, therefore, the reinstate- ment of the artistic values which make our national identity what it is, as these are revealed in music, dancing, the plastic arts, and traditional literature and drama. Since these values constitute an important aspect of our national identity, cultural promotion should give them new life, encouraging an attitude among the people which will prevent such values from suffering impairment or loss. In recent years, the State has drawn up plans for their promotion, which it has implemented through various channels, such as the National Social Welfare System, the Wnistry of Industry and Tourism and the Peruvian Craft Promotion Company. Meetings of craft- workers, of amateur and professional artists and joint exhibitions have

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brought creators and performers in various areas of artistic work into the limelight. However, this is still insufficient. It is not enough to organize competitions, fairs or exhibitions if these are not backed by steady work along the lines mapped out by the cultural policy; and this work is the task of the National Institute of Culture.

For this reason, efforts must be made to arouse people’s awareness, throughout the country, so that we can take a critical look at our own culture and also assimilate other values that are indispensable to our development. So, in the first place, cultural action should aim to achieve cultural decolonization. Any developing country can put forward its own values, provided that the structures of domination are overthrown and the conditions are fuliilled which will enable creation to flourish freely.

Little can be done in our case if the work of promotion continues to be left to a small group of research workers or if the action of a few trained promoters is coniined to the provinces adjoining the capital. Cultural promotion should be carried out on a nation-wide basis, drawing the whole community into participation and co-operation in the cultural development of the country.

Since its inception in July 1972, the institute’s Technical Directorate of Cultural Promotion has adopted two lines of approach: research, and promotion proper. When plans and projects for promotion had been drawn up, the three executive bodies in the area, namely, the Offices of Literature, Film and Drama, of Music and Dance, and of the Plastic Arts, embarked upon the task of documentation. First of all, therefore, a programme of research was prepared, and this now enables us to perceive more specific guidelines and approaches.

The Office of Literature, Film and Drama is now at work gathering and investigating folk-tales in the oral tradition; such tales are very frequently heard in our country and are therefore a major form of expression. They have a variety of implications, for, as well as providing a mental structure they tell us much about the knowledge, the rules of conduct and, indeed, the world-view of the Andean, whose feelings and aspirations they express.

Within the context which we have briefly outlined, the Office of Litera- ture, Film and Drama has set itself the task of creating comprehensive archives of folk-tales, wbch will be edited and classified according to their area of distribution, subject and theme and, as far as possible, according to their structure. The objective in the second stage is to collect folk-tales in the field. T h e office also plans to set up a bibliographical card-index of studies on this type of tale and, in the sphere of drama, to investigate the area of distribution and the various versions of the play The Tragedy of Atahualpa, which, since it is to be found over a wide area, and especially since it projects an indigenous view of the Conquest, is worthy of special study.

Meanwhile, the Office of Music and Dance decided to make a scientific collection of information on all the musical instruments in the country. This

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research occupied a team in compiling data for three years; the outcome is a document entitled ‘Peruvian Folk Instruments: Classification and Geo- graphical Location’, which was to be published by the institute’s publishing house in the course of 1977. The interesting point in this case was that the musicologists themselves were surprised to h d more than 700 specimens, counting all the variants in use; they had expected some 150 instruments. The ofice is continuing to collect information on folk festivals and dances-a project which was concluded at the end of 1976-and it will go on compiling data on Peruvian composers, for the purpose of producing a biographical dictionary. Other tasks will be the transcription and analysis of Peruvian forms of musical expression.

The Office of the Plastic Arts is working on a bibliographical compilation of data concerning popular plastic arts. So far, it has set up a card-index of the examples of popular plastic arts to be found in such important establishments as the National Museum of Peruvian culture, the Museum of Art and History of the National University of San Marcos and the Ethnographic Forestry Museum. It has also completed an inventory of examples of popular plastic arts-drawn up on the basis of information obtained at craft fairs and markets in Lima-according to their geographical situation and to the type of plastic art.

Finally, it should be mentioned that the office has begun work on the preparation of its first, experimental cultural map, based on a system of symbols of the various forms of expression in the popular plastic arts, and has produced a draft study of mate burilado (engraved drinking vessels) as a form of artistic and social expression.

The ultimate aim of the research carried out by the various executive bodies in the area is to prepare a cultural map of Peru, showing the location of the centres of artistic and literary production, with the objects produced in each.

There is still much to be done with regard to community-directed cultural promotion work. In the first place, the active participation of the people must be secured. Since promotion is intended to stimulate such participation, we must, after carrying out studies which will enable us to see the various fields of action more clearly, encourage cultural encounters in which the experiences of each can be useful to all, bearing in mind the different levels of such participation: amateurs and professionals, creative artists and performers. (This concerns the cultural forms which time and custom have consecrated among the various sectors of the people.)

Apart from such encounters, the creative imagination and the t e a m spirit must both be systematically encouraged, so that nuclei of action may be established throughout the country. This does not mean that action should be governed by a paternalist attitude. On the contrary, cultural promotion consists, essentially, in working for the creation of channels through which the people’s potential for expression may develop and spread. T h e object is not to popularize certain artistic techniques, but

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to inspire the men and women in whose hands our culture lies, so that they realize that they are expressing and experiencing that culture every day.

As part of the State’s cultural promotion policy, mention should be made of the national cultural awards and fellowships, which are granted to the winners of contests. The Technical Directorate of Cultural Promotion organizes the various contests, which are judged by the General Council for Culture; the latter delivers its verdict, following the reports of technical commissions appointed ad hoc by the council for each of the areas.

There are six awards, and they are open to creative artists and research workers whose work can be said to have made a notable contribution to Peruvian culture. They are granted biennially, in literature, art, mass communication, humanities, natural sciences and mathematics, and applied sciences and technology. Each award is worth 200,000 soles, subject to periodic revision.

The fellowships are awarded, in the same areas, to Peruvians aged between 18 and 30, who are resident in Peru, and who give proof of their ability and intention to carry out a piece of creative work, research or criticism in the above-mentioned fields, on condition that they donate it to the State. Twelve fellowships are awarded every two years, and each is worth 150,000 soles, payable in ten monthly instalments.

Cultural activities

OBJECTIVE: THE PEOPLE AT LARGE

In cultural activities-for which there are six artistic groups, a publishing house and a body organized on business lines-an attempt is being made to infuse new life into traditional movements and to give fresh significance to the dissemination of national and universal cultural values.

The fundamental objectives are to disseminate literary, musical, dra- matic and choreographical works by the major writers and artists and to rescue from oblivion works of folklore, music and craft belonging to our own cultural heritage.

The institute’s work is dominated by its concern that the action of its artistic groups and its publishing house should reach the public at large, and that more people should come to appreciate the works produced. Furthermore, it aims to accustom the people to regular attendance at cultural performances, to help to educate tastes and, above all, to guarantee a high standard of work. For this last purpose, the Technical Directorate of Cultural Activities has a training establishment for specialists in the various fields for which it is responsible.

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CENTRALIZATION VERSUS NATIONAL NEEDS

Because of the socio-economic structure of the country, cultural dissemination at the national level has been limited in scope. Since approximately the third decade of the twentieth century, cultural activity has stopped on the outskirts of the capital, in which, owing to an antiquated belief in the virtues of centralization, the theatres, suitable premises for artistic performances, the best technical conditions and the sales circuit for books and magazines-in short, ‘cultural life’ in general-have been concentrated.

Access to such things, moreover, was the privilege of a small urban sector of the community. Most of the people absorbed the products of ‘mass entertainment’ passively, especially through the mass media. Artists, on the other hand, bound by the rules of the game of such a culture, were often in danger of failing completely if they did not make concessions to popular taste. Today, such commercial entertainment, which is intended to satisfy the demand of an uncritical sector of the public, is still very much with us.

Our task, therefore, is to shake this attitude to its foundations, to compete in a difficult market by attempting to win acceptance for work of good quality, and to see that cultural action is not confined to the capital.

It must, however, be acknowledged that nation-wide cultural dissemination calls for a physical and technical infrastructure, and this will be built up step by step. It is not that the performers demand optimum conditions. Apart from fundamental technical difficulties, the institute’s groups adapt themselves to the conditions which they find on their travels among the towns and villages, and they strive to maintain high standards in their performances, so as not to prejudice the success of their central task: to convey to the people at large the abiding importance and vigour of cultural values.

Nevertheless, cultural extension work at the national level was still far from perfect, and the institute therefore signed a contract, in 1975, with the Telecentro Company, the chief producer of television programmes, to record 240 programmes, each lasting twenty-five minutes, which were then to be broadcast by local channels. T h e screening of these programmes began in June of the same year, at the rate of six a week.

As a follow-up to this television experiment, which lasted more than a year, another contract was signed between the institute and Telecentro, in September 1976; this time, the institute undertook to make thirty-two programmes lasting Mty minutes each, which would be shown at peak viewing times at the rate of two programmes a week, on the same channels as before, on their networks throughout the republic and, possibly, on other television channels, both in Peru and abroad. The agreement included the production of a total of eighty mini-programmes, lasting one minute each, of a cultural, informative and educational character.

It is obvious that television could become an effective, unifying vehicle of culture. The immediacy of the televised image, its nation-wide scope and

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its ability to bring the family together may, in the near future, lead the people at large to an aesthetic appreciation of cultural achievements.

It should be made quite clear that we have no intention of playing off the products of LWestern’ culture against those of traditional cultures, or of drawing up a canon which excludes other cultures. On the contrary, w e believe that people are capable of appreciating universal cultural values, applying their critical faculty to them and assimilating their content. The important point is that they should realize that these values, too, belong to them and form part of their heritage. If things are changing in Peru, then the course of cultural dissemination must also change. A large-scale plan of cultural democratization must be carried out, one which challenges the tawdry idols of mass culture and enables our people to assimilate both the authentic values of our culture and those which belong to the heritage of mankind as a whole.

AUXILIARY ACTIVITIES

The Technical Directorate of Cultural Activities welcomes (and assesses) the proposals for action made by artists and groups who request support for their work from the National Institute of Culture. Such support, which automatically carries exemption from the public entertainment tax, is granted if the artistic quality of the work presented and the values shown in it are likely to contribute to the development of our national culture. The same treatment is given to national and foreign artists, theatrical troupes and other groups.

T h e best national or foreign artistic performances to be shown on our stages must be broadcast (on radio or television), as a condition of our support. When, for technical reasons, it is not possible to record a programme, the organizers are required to show a film specially prepared for local television. This was the procedure adopted, for example, with the Spanish Antonio Gades ballet troupe, the Nikolais Dance Theatre and the Murray Louis Dance Company. Even so, in most cases, as well as a recorded performance, a live performance is scheduled at popular prices in large capacity theatres, such as the Auditorio del Campo de Marte or the Coliseo Amauta; by this means, performances which only the upper social groups were able to see in the past can now be enjoyed by the whole population.

THE EXECUTIVE BODIES

National Symphony Orchestra

The achievement of the National Symphony Orchestra, which began work in 1938, is manifest in the performances it has given in its many years of existence (most of these for the first time before a Peruvian audience), in the numbers of permanent and visiting conductors and national and foreign

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soloists who have performed with it, and, especially, in the numbers of national composers whose work it has made known to the public. But, going beyond statistics, what makes it historically outstanding is the cultural impetus, not expressible in figures, which it has given to the artistic development of the country.

Its first conductor, the Austrian musician The0 Buchwald, led the orchestra for more than twenty years. Since its inception, the orchestra has achieved a steady output, playing from its traditional platforms (the Municipal Theatre in winter and the Campo de Marte in summer), but also playing for sectors which used to be the less privileged members of society, as well as for universities and schools.

In the 144 concerts which it gave during the two-year period, 1975-76, it performed symphonies from its vast repertoire, which consists of about a thousand works, written by 250 composers, including Peruvians.

National Choir

The National Choir gave its first concert in November 1965 and since then its musical output has been prolific and sustained. It is considered to be one of the most important choral groups in South America.

In the last two years it has recorded eight programmes for television and has given thirty-four different concerts.

It comprises more than Hty choristers, and has given the h s t performance in Peru, in conjunction with the orchestra, of works by Bach, Schutz, Vivaldi, Mozart, Beethoven, Gluck, Prokofiev, Rossini, Ravel, etc. Its a capellu repertoire includes more than a hundred works, ranging from Renaissance to modern music.

T h e Peruvian works which it performs fall into two main categories: original works by Peruvian composers and arrangements of folk songs.

National People’s Theatre

The National People’s Theatre began its career in 1973, when it staged Fulgor y Muerte de Joaquin Murieta, by Pablo Neruda. The following year, it gave the première of a version of Fuenteovejuna, by Lope de Vega. It also stages two works written collectively; Historias de la Tierra, dealing with topics relating to agrarian reform, and Biombo, a play for children.

In 1975, it produced Hamlet, by William Shakespeare, and, early in 1976, on completion of an exhaustive study designed to reinstate national values, it gave the first performance of La Tragedia del Fin de Atau Wallpa, a play by an anonymous sixteenth-century playwright, at the pre-Hispanic site of Puruchuco, near Lima. At the same time, it put on a children’s play, Se Están Marchitando las Flores de mi Sombrero, in the La Cabaña Theatre. In June 1976, it gave the first production of The Beggar’s Opera, by John Gay.

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In 1975, the National People’s Theatre televised six short plays by the Peruvian dramatist Sebastián Salazar Bondy, a new adaptation of La Cenicienta and a mediaeval Spanish play on the theme of the Nativity. Its output for 1976 included two programmes, La Tragedia del Fin de Atau Wallpa and La de Cuatro Mil, by the Peruvian playwright Leonidas Yerovi.

Between July and August 1973, the theatre participated in the Seventh Latin American Drama Festival, held in Manizales (Colombia). In July 1974, it attended the Second Latin American Drama Festival, held in Caracas.

The activity of the National People’s Theatre is not confined to performances in the La Cabaña, Municipal or Segura Theatres. It also helps to popularize theatrical activities by performing in schools, new housing areas and unconventional settings. In the last two years it has given more than two hundred performances, and has appeared on television programmes on fifteen occasions.

National Dance Group

The National Dance Group consists of thirty-eight dancers, and performs works from the classical ballet repertoire. These include ballets with music by Tchaikovsky, Adam, Chopin, Bizet, Saint-Saens, Aubert, Shostakovich, Britten, Prokofiev, etc. Its productions of Giselle and Romeo and Juliet were particularly successful.

The group also appears jointly with the National Symphony Orchestra, the National Choir and the Modern Chamber Ballet. Its performances are usually given at low prices, and in some cases free of charge, with the result that the beauty of classical ballet is now within the public’s reach. Most of its performances are held in theatres and secondary schools, where it also performs for teaching purposes.

In the last two years it has given forty-eight performances and has recorded twenty-one television programmes.

Modern Chamber Ballet

This was created early in 1974, as part of the National Dance Group, together with the Classical Ballet Troupe, and became a separate executive body in July 1976.

In its two years of existence, the Modern Chamber Ballet has gained professional experience, and has developed an extensive repertoire which is performed in a wide variety of settings, from the Municipal Theatre of Lima to halls belonging to agricultural and industrial complexes, educational establishments and all sorts of institutions, and even mining areas.

Its repertoire, which comprises more than fifty ballets, includes work by composers such as Vivaldi and Piazzolla, Brubeck and Atahualpa Yupanqui, of various periods and styles. In the last two years it has recorded seventeen programmes for Peruvian television and has given seventy-four performances, most of them in unconventional settings.

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The National hstitute of Culture

The group is prepared to travel and to perform in any place whatsoever, as long as the conditions reach a minimum standard, so that the performers can do their work.

Its ballets are noteworthy for their liberationist spirit. They are of three kinds: lyrical ballets based on ‘classical’ music (Vivaldi, for example), ballets conveying a social protest which express the people’s longing for freedom, and folklore ballets, which are inspired by Peruvian and Latin American folk tunes.

The National Folklore Association

This association was founded in 1973, for the purpose of collecting, preserving, investigating and disseminating examples of national folklore as it is expressed in dancing, music, songs and musical instruments. Its aim is to bring out the importance of the principal elements in the people’s traditional culture, maintaining high standards and the advanced degree of technical ability which the wealth of Peruvian folklore necessitates.

The National Folklore Association is one of the best-known groups. Its rich repertoire, consisting of folk dances from the three main areas of the country (the coast, the mountains and the forest) is much appreciated. Furthermore, its interest in studying, investigating and reconstructing dances of the past is welcomed by the people, because it fulfils their aspirations to rediscover their traditions and culture.

In addition to its regular performances in the capital, in the Cabaña, Municipal and Segura Theatres, and in amphitheatres, halls, etc., the National Folklore Association also performs in secondary schools, universities, new housing areas, hospitals, trade union halls and army camps, at low prices or free of charge. It has also performed abroad, and has met with particular success in the United States, Canada, Central America and Europe. It often goes on tour within the country.

Its record of work during the present biennium includes 150 performances and 15 programmes recorded for television.

Publishing House

Although a publishing tradition undoubtedly exists in the country, there are some areas which are not covered by private publishers, for example, authors and works which inform us about our cultural development, without rising to the ranks of the best sellers. The Publishing House of the National Institute of Culture should therefore stimulate critical awareness by collecting and recording the varied contributions of our writers.

The work of the Publishing House has included the following: (a) the publication of works in its own particular area, i.e. editions of works by Peruvian authors; (b) the publication of periodicals prepared by various executive bodies of the institute: the National General Archives, the

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National Anthropology and Archaeology Museum, the National Museum of Peruvian Culture, the National History Museum and the National Library; (c) the production of posters, pamphlets, programmes, wall charts, etc., concerning the activities carried out by the institute’s various bodies.

The books produced by the Publishing House form a sizeable collection of forty-six titles, which cover major achievements in scientific research and creative art. Three of these are editions of Peruvian musical scores. The books are produced in accordance with the highest philological standards, and are suitably illustrated; their standard of printing and layout can be compared with the finest work achieved in the field of publishing. By October 1976, the total number of copies published had passed the 100,000 mark. The journal of the institute, Textual, appears regularly; it contains valuable material, and is very well produced.

The Publishing House has set up a distribution and sales service, which operates through its own bookshop and news-stands in public places.

The Entertainment Ofice

This is the body responsible for giving technical assistance to the activities carried out by the other executive bodies in the area, and also for organizing symposia, lectures, round tables, recitals and exhibitions, in which both Peruvian and foreign artists and intellectuals take part.

The Entertainment Office has already acquired considerable experience in the promotion of cultural entertainment having successfully presented national and foreign solo performers and groups of artists.

T h e National Institute of Culture, as an organization competing with private companies, has made it its object to ensure that artistic performances of a high quality are given over a wide area and at reasonable prices.

The work of the Entertainment Office is outstanding because it is willing to operate in unusual contexts. For example, various events have been planned in local parks, industrial premises and agricultural co-operative societies, in an attempt to attract audiences which lie off the beaten track of entertainment.

In 1973 and 1974, it was particularly successful in organizing the new Latin American Song Programme, in which well-known artists took part such as Daniel Viglietti, Victor Jara, Joan Manuel Serrat, Alfredo Zitarrosa, Victor Heredia, Soledad Bravo, Omara Portuondo and the Peruvians Tania Libertad, Diego Mariscal and Raúl Vásquez.

The Peruvian Poetry Programme has been in progress for many months; week by week, it brings representatives of the present generation of poets before the public.

Finally, mention should be made of the work of the Museum of Italian Art, the name given to the institute’s gallery of the plastic arts, in which exhibitions of works by Peruvian and foreign artists are always to be seen.

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Conservation of national monuments and the cultural heritage

The will to find a national identity came into being with the birth of the republic. To discover this identity, an attempt was made to strengthen patriotic feeling and to arouse respect for indigenous values, and laws were passed aiming to preserve the relics of the pre-Hispanic period as symbols which could help to strengthen the emerging independent State.

However, the earliest attempts to protect the monuments of Peru date back to the sixteenth century. The desire to do so is still very much alive, since knowledge of our past continues to require not only the conservation of its origins in the form of monuments and documents, but also the general protection and study of these, in accordance with the attitude of respect which is due to the cultural creations of the Andean society. This attitude is already to be found in the Indian laws, based on the concept of ownership (jus Quiritium) of deposits, valuables and buried treasure, which were drawn up by the Spanish monarchy in its eagerness to lay its hands on the royal dues. In about 1541, Charles V advised that care be taken of these things ‘because they belong to us’, and the decrees of Toledo, published in La Plata (today Sucre, in Bolivia), in 1574, set out the conditions to be complied with by anyone ‘seeking or bding treasures in Indian burial grounds, tombs, or temples’. Although the purpose of these decrees was different from our aims, their effect was to set a limit to the right to private property.

However, during the Spanish domination, despite the irreparable structural damage which the Andean culture suffered as a result of the unequal confrontation of two worlds and the insatiable thirst for gold that was the driving force of the Conquest resulting in temples and palaces being sacked and plundered and Indian burial grounds ransacked-a process which went on for three centuries- the scale of the material destruction, comparatively speaking, was less than the despoiling of archaeological monuments in the days of the republic. At least the looters left a record of what they destroyed, in documents which can still be studied today. The treasure seekers, brick- dealers and urban developers, however, not to mention the archaeological dilettantes, razed to the ground everything of archaeological interest which they came upon, and they continue to do so. All this occurs despite the interest in the historic heritage, concerning

which a number of decisions were taken by the government of the republic from 1822 onwards. Measures were adopted expressing the ideological views of those who set out to give us a united national identity, but they were really innocuous measures-good intentions, incompatible with the physical structure and administrative capacity of the country.

What we have described so far was merely an attempt to bring about national awareness, i.e. the enactment of laws in the hope of developing the necessary spirit of citizenship, which should be the supreme defence of our

39


cultural heritage, the complement or crown of our knowledge of our past. It was therefore indispensable, besides seeking to make the citizen respect cultural relics, to adopt measures which were both intellectually coherent and practically effective.

However, although it is undoubtedly essential to be able to rely on legal machinery for the protection of the cultural heritage, the means should not be mistaken for the end: protecting archaeological sites, restoring and rebuilding historical monuments are only part of the problem. To unearth works of art from the obscurity of the past, and to give tangible form to the image of the nation’s being, are not goals which can be achieved by impro- visation; they demand effort. Such an effort, besides being steady and systematic, requires the strict application of scientific methods, i.e. research work. Furthermore, research is not only the privilege of large institutions or academic centres; it is essential to any institution with an educational vocation.

Recovery of the past is the first step towards achieving the ideals of arousing, developing and strengthening an authentic, valid national awareness. Research into and knowledge of the past are a service rendered to all mankind, now and for the future.

It is important to define what is meant by research in relation to the preservation of the cultural heritage. In the first place, it means research towards the recovery of tangible and intangible evidence and, secondly, research towards the conservation of such evidence for all time. Such research should and must be conducted in the field and in the laboratory by persons who have been trained either in anthropology or in such disciplines as physics, chemistry, botany, engineering, geology, electronics, zoology, and even in cinema, radio and television, which serve as auxiliaries to anthropology.

From the anthropological angle, research involves both archaeological and ethnographical materials, since these are complementary, in that both make known the continuum of the cultural process.

In present-day Peru, archaeological research has three different aspects. 1. Pure research, that is, the acquisition of knowledge of ancient societies,

tracing their history not only through their achievements but also through their failures (demographic or climatic crises, or over-production of food, which, by altering the Andean ecosystem, meant the loss of control over it).

2. Research intended to enhance the value of monuments, i.e. an attempt to restore their original appearance and to make them accessible to the general public as their rightful inheritance; or the conservation of archaeological evidence in a research documentation centre, where a detailed record is kept in the archives of everything connected with sites which have to be destroyed, owing to the inevitable processes of expansion of human settlements-irrigation, building highways or urbanization.

These archaeological salvage operations are necessary in our case.

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Garagay. Mythical figure. Part of a polychrome clay frieze in high, relief from the valley of the Rímac, central coast, 3800 B.C.

Nasca. Modelled polychrome ceramic, Nasca-9 style. Southem coast, sixth century A.D. Collection of the National Museum of Anthropology and Archaeology.

Chimu. Ceramic sculpture of a parrot pecking at a corn-cob. Northern coast, twelfth century A.D. Collection of the Museum of Anthropology and Archaeology.

Chimu. Church with highly decorated roof. Contemporary ceramic. Popular art. Central mountain area. Pampa de la Quinua, Ayacucho. Collection of the National Museum of Peruvian Culture.

Chimu. Painting, Cuzco School. Coronation of the Virgin by the Holy Trinity. Seventeenth century. Collection o€ the Museum of Art.

Q’Anchi. Native dance, Department of Cuzco.

..f " . . "f. . . f f *. f f f . .." f f f

.". f f

..

Huaylash. Native dance, central mountain region, directly related to agricultural work. Province of Huancayo (Junín).

Workshop for the restoration of easel paintings. Centre for the Investigation and Restoration of Monuments.

The National Institute of Gulture

Nearly all of Peru is archaeological territory, since it has been occupied throughout its length and breadth over a period which, although it cannot be calculated exactly, exceeds 20,000 years.

The need to keep such a record is becoming urgent, owing to demographic expansion, which, regrettably and inexorably, entails the occupation and violent destruction of ancient sites of human civilization. This is necessarily a task for the State, acting through its specialized bodies.

3. Research for conservation. It is difficult, not to say impossible, to conserve, in the strict sense of the term, things that we know nothing about.

It is indispensable to know and use the techniques needed to conserve both fixed and moveable objects, and this presupposes the availability of human and economic resources.

At the present time, the conservation of archaeological monuments, especially the most impressive-in the case of Peru, the cities of Machu Picchu, Chanchán, Pajatén, Chavín and many others-calls not only for scientific research in order to gain knowledge of them, but also for research into the best way of conserving them. This should consist in evolving techniques for the conservation of adobe buildings so that they may even be transported to a different site where it will be possible to conserve them more effectively, techniques for conserving stone buildings, for controlling the processes of salinization and destruction by animal life (hemipterous insects, beetles, spiders, birds, termites, sparrows, swallows and oven-birds) and even the industrial pollution of the atmosphere.

Recently, Peru has played its part in the international adoption of practical measures to solve urgent problems concerning the protection of cultural property. For example, it has signed bilateral agreements with a number of countries for the prevention of the illegal traffic in archaeological specimens and for their compulsory restitution to their country of origin. Within the country, it has embarked on an unprecedented task: collaboration with a community organization of major importance (the National Agrarian Confederation) in the conservation of archaeological sites in the province of Huánuco. The evaluation of this initial activity will make it possible in the near future to advance in this field and to release hitherto untapped resources.

Peru has signed agreements with the United Nations Development Programme and with Unesco (PER/71/539 under the COPESCO Plan} regarding the preservation and presentation of its national monuments which are being fully implemented in the Cuzco-Puno area.

The reasons which have been, and are still advanced for preserving the traces of our cultural heritage, seem obvious. What legally justifies the State’s ownership of a site, monument or building on private property, or the removal of pre-Hispanic objects or the treasure of a church, or, through ad hoc institutions, its being the repository not only of documents of a

41


historical and political nature, but also of administrative, legal, religious and even family documents that reveal little-known facts on which his- torians have not focused their attention?

The protection of historical and artistic monuments, in all their forms-the works of man or those of nature-is obviously one aspect of the preservation of the national heritage. Whatever the nature of a historical monument or a work of art, it represents values which are at once cultural, aesthetic and economic. H o w can we fail to include them in the heritage of a civilized nation?

This is the great and important mission which the National Institute of Culture was designed to accomplish. Its Technical Directorate for the Conservation of National Monuments and the Cultural Heritage is responsible for laying down the general rules for the functioning of the executive bodies in its area of competence and for co-ordinating the activities of those bodies.

The plan for a national strategy for the protection and preservation of this heritage must be based on an up-to-date analysis of the country’s situation. This facilitates the task of establishing precise guidelines for regular supervision of the safety of our cultural property, which is carried out by the technical directorate. Action is channelled through the executive bodies, most of which are renowned for their experience and for the distinguished specialists on their staff.

The executive bodies in the field of the conservation of monuments and the cultural heritage are the following: the National Library, the National Archives, the National Museum of Anthropology and Archaeology, the National Museum of History, the National Museum of Peruvian Culture, regional museums, the Centre for the Investigation and Restoration of Monuments, and regional centres.

NATIONAL LIBRARY

On 28 August 1821, the s a m e month in which independence was proclaimed, the Supreme Decree establishing the National Library in Lima was signed, in Government House, by the Protector of Peru, General José de San Martin. This decree was countersigned by a celebrated American, the Colombian Juan García del Río, a distinguished politician and m a n of letters, who undoubtedly played an important part in the setting up of the library.

It was officially opened on 8 February 1822, with a stock of 11,256 volumes from various sources including the libraries of the religious orders, of the University of San Marcos and of distinguished persons such as Hipólito Unanue, and the private library of San Martin himself.

In the course of its history, it has suffered great damage from three tragic events: the looting perpetrated by the Royalist troops in 1823 and 1824 and by the occupying troops in 1881, and the fire of May 1943, a national


disaster, after which only 55 manuscripts and 1,009 volumes were recovered. After the fire, Dr Jorge Basadre, an eminent historian, took on the

arduous task and great responsibility of building up the library’s stocks. H e gave it a new structure and made it the best organized institution of its kind in South America: it was reopened in 1947 with 134,000 volumes.

At present, its organic structure is as follows: Technical Processes Department, Inquiry and Reading Department, Department of National Bibliography and National Copyright Register, Bibliographical Research Department, Administration and Supervision Department, National School of Librarians, National Department of Municipal Public Libraries and National Department of School Libraries.

Objectives

The general objectives of the National Library are as follows: To house the national heritage of books and the foreign books which are

indispensable to the scientific and technological development of the country.

To arrange for the conservation, safe keeping and technical organization of its bibliographical resources for public use.

To carry out research on its bibliographical stocks and other materials. To keep the National Copyright Register. To encourage the expansion of the national systems of public and school

libraries and to supervise their operation. To execute international aid projects and plans for public and school

libraries recommended by the General Directorate of the National Institute of Culture.

To carry out other activities within its sphere of competence in accordance with the instructions of the General Directorate of the National Institute of Culture.

Its specific objectives are the following: To maintain the necessary legal arrangements throughout the Republic for

the registration of copyright. To foster interest in research on the basis of its bibliographical and documen-

tary stocks. T o promote the establishment of a National Centre for Documentation and

Information concerning history, literature, bibliography and copyright. To place its bibliographical and documentary stocks at the disposal of both

national and foreign research workers and the general public thus facilitating the more extensive transfer of technical, scientific and cultural information.

To conduct its activities in accordance with the directives set out in the text of the Law on Educational Reform.

To issue publications in keeping with the nature, purposes and practices of modem library science.

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T h e National Library carries out substantial cultural extension work by organizing bibliographical exhibitions, lectures and other activities, both to mark events of national or universal interest, and to celebrate Peruvian anniversaries.

The library constantly strives to reach a broad public, and it is aware that this cannot be achieved unless every avenue is explored. Its sphere of activity has been expanded, through the appropriate offices, to cover such large sectors of the population a6 schoolchildren, manual workers and people living in new housing areas in the suburbs.

Stock of the National Library

The stock of the National Library consists of 640,690 volumes, 11,625 maps, 7,710 musical scores, 7,275 photographs, 2,926 gramophone records, 1,515,773 issues of journals and periodicals, 5,684 items of audio-visual material and 176,765 miscellaneous items.

The library has six reading-rooms, for Peru, humanities, science, newspapers and periodicals, encyclopaedias and bibliographical research; it has 2,000 readers every day, and the subjects most studied are the social sciences and pure and applied science.

A noteworthy feature is the libraryqs bibliographical stock of 41 incu- nabula, 350 manuscripts and 27,000 rare and unusual books. Among the most valuable manuscripts are the following: Orders Dispatched by the Marquis Don Francisco Pizarro, Los Reyes (Lima),

Chronicle of King Enrique IV, from the Year 1454, when his Reign Com-

Statutes of Viceroy Don Francisco de Toledo, Los Reyes, 1604. La Púrpura de la Rosa, musical score by Tomás Torrejón de Velasco, Lima,

1701. Los Motivos de Proteo, signed original by José Enrique Rodó, Montevideo,

1917. Printed works include the first edition of the Christian Doctrine and Cat-

echism for the Instruction. of the Indians, Los Reyes, 1584, the oldest in Peru.

The Newspapers and Periodicals room, besides other valuable collections of Peruvian periodicals, contains the following: Diario le Lima, Curioso, Erudito, Económico y Comercial, Lima, Niños

Semanario Crítico, Lima, Royal Press of the Niños Expósitos, 1791. Mercurio Peruano de Historia, Literatura y Noticias Públicas, Lima, Royal

La Gaceta de Lima, a political and literary weekly, Lima, Royal Press of

Minerva Peruana, Lima, Niños Huérfanos Press, 1805-10.

1541.

menced, to 1474, the Year of his Death.

Expósitos Press, 1790-93.

Press of the Niños Huérfanos, 1791-95.

the Telégrafo, by Guillermo del Río, 1792.

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La Gaceta del Gobierno de Lima. Viva Fernando VII, Lima, Niños Huér- fanos Press, 1810-21.

La Guia Política, Eclesiástica y Militar del Virreynato del Perú, for the year. . ., Lima, Royal Press of the Huérfanos, 1793-97.

L a Abeja Republicana, Lima, D. José Masías Press, 1822-23. Attached to the National Library is a reprography laboratory, and the library also provides a telephone information service. It receives a constant stream of requests, from both within the country and abroad, for bibliographies on a very wide variety of subjects, chiefly concerning Peruvian matters. In order to comply with these requests it has recourse to its own bibliographical stock and also collaborates with other libraries.

In 1973, the regular work of the National Library underwent the following changes.

The reading hours were extended to include Saturday and Sunday mornings. It was reorganized so as to serve the public better, by central- izing its procedures and services.

Alterations were made to the reading-rooms, and their capacity was increased to a total of 150 readers at one time; reader services were improved by transferring the books most in demand from remote stock rooms to those close at hand, and the public catalogue was centralized in an easily accessible room.

Furthermore, in the same year, the Department of National Bibli- ography and National Copyright Register began the compilation of 69,347 bibliographical index cards and the registration of 3,189 works. This department is also responsible for issuing the Library Bulletin, Fénix and the Peruvian Bibliographical Directory, which are among the library’s publications.

Decree-Law No. 19437, of 13 June 1972, stipulates that authors, publishers and printers of books, pamphlets, musical scores, phonograms, printed reproductions of drawings, paintings, maps, plans, programmes of performances or shows and, in general, any text printed on Peruvian territory, must deliver, free of charge, within thirty days of completion of printing, four copies of every item published, to be distributed as follows: three to the National Library and one to the Municipal Library of the capital of the province in which the work is published.

Law No. 13714, of 1 September 1961, regulates and d e b e s copyright. It provides for the setting up of the National Copyright Register as part of the National Library, under the management and responsibility of its director; entry of works in this register is optional.

In the past three years, the Inquiries and Reading Department has provided services for 2,804,443 users, who have made approximately 6 million inquiries. A total of 11,733 research workers have consulted 106,155 workers in the reading-room of the Bibliographical Research Department. It has compiled 144 bibliographies, and has answered requests for advice by post, 337 from Peru and 572 from abroad. The Technical Processes Department

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has acquired 427,484 bibliographical units (350,529 journals and periodicals, 14,635 monographs and 62,320 miscellaneous items), which have been duly processed.

The National School of Libraries is a higher educational establishment whose purpose is to train professional staff for service in the National Library and in the other libraries of the country. It was set up by Supreme Decree on 23 June 1943, and has been attached to the National Library since January 1944. The director of the latter is also principal of the school.

The teaching has evolved gradually, being brought up to date and adjusted to suit requirements. Courses are given in general cultural subjects, technical and professional subjects and specialized subjects. The school provides training at a high level, and its general outlook and objectives are such as to contribute to the all-round training of librarians.

The National Department of Municipal Public Libraries is responsible for encouraging the establishment of public and technical libraries, laying down rules for them, training their staff and supervising their operation; it performs this task on a countrywide basis. In Lima, it controls seven branch libraries and one bookmobile; 400 readers use these services every month.

The National Department of School Libraries carries out studies on the basis of which situations can be analysed with a view to planning the establishment of a network of school libraries in areas where the new educational system is to be launched; it organizes and supervises such libraries. With the technical assistance of the Organization of American States,

it draws up preliminary projects for the planning, at national level, of the network of school libraries, and for the training of professional and auxiliary staff for the development of school libraries in Peru.

It is responsible for the José de San Martin Library, a pilot school library in Lima which has approximately one thousand readers a day.

GENERAL ARCHIVES OFFICE

The General Archives Office was established by a decree dated 15 May 1861, during the presidency of Ramón Castilla, under the name of National Archives, with the aim of preserving the historic documents of the colonial period and collecting and conserving those of the republican era.

For a long time the regulations governing archives were not standard- ized, and it was impossible to carry on any systematic work for the protection, classification and cataloguing of documentary material. This situation was remedied by Decree-Law No. 19414, of 16 May 1972, concerning the protection, preservation and augmentation of the documentary heritage. A few months earlier, by Decree-Law No. 19268, which is the General Law relating to the National Institute of Culture, the National Archives had been re-named as the General Archives Office, and became an executive body of the National Institute of Culture.

In accordance with the above-mentioned laws, the General Archives

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Office is responsible for custody of the documentary material which it organizes in order to be of service to research workers, university teachers and students, the State itself and the general public.

Its materials come from: (a) the former colonial collections and those of the republican era; (b) the various offices of the public sector, from which they must be transferred after a period of thirty years having first been weeded out and selected; (c) the registers of public notaries whose records must be transferred two years after the death or retirement of the notary; (d) the judicial files maintained by court registrars or clerks in the department of justice, after the same time has elapsed and in the same conditions as those indicated in the previous provision; (e) private records, acquired by donation, purchase or other means.

Once such documents have been transferred, they must be processed by being sorted, classified and catalogued before being made generally available.

In virtue of the above-mentioned laws, the national archives system has been organized under the responsibility of the General Archives Office, which in turn acts as a governing body; it is advised by the Technical Archives Board.

As the head of the system, the General Archives Office organizes and controls the operation of the Departmental Archives; it supervises the functioning of the archives of the various public offices and has standard- setting powers over them; it likewise supervises and checks the private aes of documents, which must be entered in the register kept in the General Archives Office and in the Departmental Archives.

The General Archives Office has three departments and bureaux in which documents are preserved and classified. These are as follows:

Ofice of Historic Archives

This houses documents, records and files dating from 1533. Its collections are catalogued as follows: 1. Colonial Section, with 7,730 dossiers of documents and approximately

2. Republican Section, with 1,300 dossiers. 3. Notaries Section, with 3,500 dossiers. 4. Donation Section, with approximately 200 dossiers. 5. Historic Archives of Finance Section, with 1,433 boxes of separate

The Colonial Section is divided into series, as follows: Real Audiencia (Royal Court). A total of 2,017 dossiers of documents dating

from 1540 to 1820. It comprises the following sub-series: (a) administrative-includes administrative regulations and correspondence, lawyers’ papers, royal tribunals of justice, attorneys’ books and court clerks’ files; (b) criminal suits and civil suits-contains individual

1,500 books.

documents and 4,274 books.

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appeals, judgements, cases brought before the court, ecclesiastical benefices, ecclesiastical chapters and the consulate; (c) special tribunals-includes property of deceased persons, census figures, tribunals of religious congregations, legacies and wills; (d) lands and estates.

Town Council. A total of 205 dossiers of documents dating from 1552 to 1821. There is an administrative sub-series which contains public hearings, correspondence, guild documents and criminal cases.

Rural. With the following sub-series: (a) water tribunal, with forty-five dossiers of documents dating from 1577 to 1821; (b) native law, with forty dossiers of documents dating from 1522 to 1820, including laws on the distribution of Indian taxes, land grants, census-taking and visits to Indian towns; (c) title-deeds to land, with forty-four dossiers dating from 1545 to 1825; (d) lands and estates, with forty dossiers dating from 1693 to 1892; (e) community lands, with twelve dossiers dating from 1545 to 1821.

Royal Tribunal of the Consulate. A total of 273 dossiers dating from 1613 to 1821. Contains documents relating to administration, customs, litigation and merchant guilds.

Royal revenue from the mails. Contains seventy-seven dossiers dating from 1772 to 1821, with relevant material concerning the operating of the central and provincial administration of the viceroyalty.

Ecclesiastical affairs. A total of eighty-one dossiers dating from 1575 to 1821, concerned with the administration of churches, choir benefices, registers of supplies, convents and religious orders, hospitals, church tribunals, account books of parishes and the Ecclesiastical Court.

Royal exchequer. A total of 3,506 dossiers and 1,500 books dating from 1570 to 1821. Contains documents relating to customs offices, central administration, merchandise, the native peoples, import and export duties and legal affairs, taxation court and Court of Exchequer, documents of general and provincial administrations concerning State monopolies -alcoholic spirits, quicksilver, pitch, playing cards, stamped paper, gunpowder and tobacco, and documents relating to the Higher Council for the Royal Exchequer, the Royal Mint, ecclesiastical taxes and tithes.

Higher governmental matters. A total of 131 dossiers dating from 1544 to 1839, covering royal concessions, correspondence, orders, Royal Tribunal of Justice, ecclesiastical litigation, suits concerning residence, magistrates and deputy treasurers, in both administrative and judicial aspects.

War. A total of 183 dossiers dating from 1681 to 1820. Contains records of the auditor-general's oflice, the army and files concerning services and supplies.

Tribunal of the Inquisition. Contains 294 dossiers dating from 1873 to 1920 and files dealing with litigations, the sequestration of property, administration, account books, public trials and judgements.

Jesuits. Contains 129 dossiers, dating from 1551 to 1767, of documents

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from the time of the establishment of the Society of Jesus under the viceroyalty until its expulsion.

Temporalities. Contains 360 dossiers dating from 1777 to 1818. Files of the board that administered the property of the Jesuits, subdivided into administration, benefices, taxes, colleges, litigations, correspondence, accounts, gifts, foundations, inventories, alms, attorneys, income, property.

Royal Tribunal of Mines. Contains eighty-three dossiers dating from 1585 to 1823 with data on general administration, regulations, correspondence, deeds, claims, accounts, delegations from provinces.

Miscellaneous. A total of 230 dossiers of documents of different kinds. The Republican Section contains documents belonging to the republican portion of the nineteenth century. These include 1,330 dossiers, which are being catalogued according to their origin.

The Archives of the Ministry of Justice, Religion, Education and Wel- fare and of the High Court of Justice of Lima are also in the process of being sorted and catalogued, as are a large number of documents of the Post and Telegraph Office and private collections which have been donated by their former owners to the General Archives Office.

The Notaries Section contains the registers of notaries of the colonial period and those of the republic down to the year 1900. The collection consists of 3,500 registers catalogued by century; each century in turn is classified alphabetically according to the names of the notaries.

The Donations Section is made up of documents formerly belonging to private persons. The names of the donors have been retained. The ‘Moreyra’, ‘Bustamante de la Fuente’, ‘Manuel Pardo’ and ‘García Calderón’ archives are among the most important ones.

The Historical and Colonial Archives of the Ministry of Finance and Commerce are kept in the Historic Archives of Finance Section, which operated under that name until December 1970, when it was made a section of the General Archives Office. Its collections may be described in very summary fashion as follows: Colonial series. A total of 1,275 books in manuscript, 1,011 of which pertain

to the Royal Tribunal, 207 to the Tribunal of the Consulate and 57 miscellaneous items; the books date from 1548 to 1820.

In this section there are royal permits, royal orders, decrees, judgements and regulations concerning military affairs during the time of the viceroyalty.

Republican series. This forms a separate group, beginning in 1820. It is divided into two sub-series: official documents and private documents.

This series includes a large collection of the originals of legal measures such as decrees, ministerial decisions, supreme decisions, directorial decisions and regulations. There are also books containing copies of documents, communications and general correspondence of the orig- inating ministry.

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Ofice of Notarial and Judicial Archives

This office contains registers and lists of deceased or retired notaries as from 1901. In compliance with the law, these documents have been incorporated into the General Archives. They are arranged in the order of the files of the notary to whom they belonged, and include the registers of original documents, minutes and parts of public registers, and the corresponding indexes. These archives go as far as 1973.

There are also archives devoted to the files of court clerks who died between 1901 and 1960. Only some of the relevant documentation has been incorporated into the judicial section.

Ofice of Administrative Archives

This office deals with documents relating to public administration, from 1901 onwards. It includes those of the Mïnistries of Justice, Finance, Health, Labour and Agriculture, as well as the Court of Exchequer, the Office of the Comptroller General, the Central Morgue, the Unemployment Board, the Prefecture of Lima, etc.

The organization of the administrative archives was begun in 1968; although the regulations concerning archives called for the establishment of the ofice, no documents had been transferred to it until that date. Since then its collections have grown considerably. The sorting and cataloguing of these documents was begun in 1973, and is now in progress.

Decree-Law No. 19414 provides that the documents produced by the public sector must be transferred after thirty years to the General Archives Office or to the corresponding departmental archives.

Departmental archives

The legal measures mentioned above have made it possible to establish archives gradually in the various departments of the republic, and they are responsible for the preservation, care and classification of existing documents in their respective territorial circumscriptions.

Thus 1973 witnessed the establishment of the Departmental Archives of Arequipa, which took over the historical collections preserved in the University of San Agustín, to which have been added notarial, judicial and administrative documents.

The Departmental Archives of La Libertad were organized in 1974, and have begun their archival work with the registers and files of the record offices of former times.

The Departmental Archives of Cuzco were established in March 1975, when the collections kept in the Historical Archives of the University of San Antonio Abad were transferred to the Departmental Archives.

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They are now housed in a spacious modern building designed for this purpose.

The Archives of Tacna and Piura were set up in 1976, and those of Ayacucho and Cajamarca have just been established.

International aid

The Organization of American States (OAS) accepted the Plan for the Modernization and Reorganization of the General Archives of the Nation, drawn up in 1972, and has provided aid by training staff and supplying equipment.

Co-operation of this kind began in 1973, and since then a multinational seminar on the planning of national archives has been held and a short course given on training in archives work. Fellowships have also been granted to staff for advanced training at schools in Madrid (Spain) and Córdoba (Argentina).

Through the OAS contribution it has been possible to obtain steel shelving, microfilm equipment with two readers, and material and instruments for the restoration of documents.

Publications

Twenty-nine volumes of the Revista del Archivo Nacional del Perú (Review of the National Archives of Peru) were published between 1920 and 1971. Three issues of the Revista del Archivo General de la Nación (Review of the General Archives of the Nation) have appeared between 1972 and 1974. Catalogues Nos. 1, 2 and 3 were issued during the same period; they give information on the content of the Historical Archives of the former Ministry of Finance.

NATIONAL MUSEUM OF ANTHROPOLOGY AND ARCHAEOLOGY

T h e National Museum of Anthropology and Archaeology is one of the principal institutions responsible for carrying out research on the archaeological heritage of Peru, preserving it and publishing information about it. It dates back to the beginning of the republic in 1822, the year in which it was founded by the liberator, José de San Martin. Since then, a great deal has been done to enable the museum to fulfil its important role. However, owing to economic and political circumstances, grave difficulties have been constantly encountered as regards its organization and operation. This was so from the beginning, for it could not be opened before 1826, when Don Mariano Eduardo de Rivero y Ustariz became its director.

T h e museum had a precarious existence in the nineteenth century and was reorganized on a number of occasions. In 1881 it was plundered and destroyed by the occupation forces during the W a r of the Pacific (1879-83).

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It then had to close down, and only after great difficulties had been sur- mounted was it able to reopen formally in 1906, when it became the National Museum of History, with one section devoted to history and another to archaeology. Max Uhle, a German archaeologist, was invited to take charge of the latter section, and directed the museum until 1912. Uhle made the archaeology section an excellent starting-point for the establishment of the museum, cataloguing collections and adding to them through purchases and donations as well as by carrying out excavations himself. His departure led to a new crisis for the museum, which lasted until 1931. In that year, the National Museum was again set up, the State museums being organized as two departments, history and archaeology, under the direction of Luis E. Valcárcel. In 1938 the archaeology section was separated from the museum and became what is now the National Museum of Anthropology and Archaeology, under the direction of Julio C. Tello.

Since then the museum’s collections have grown considerably, largely owing to the addition of material found in the course of the museum’s own investigations. At present it has more than 200,000 exhibits, organized in collections of textiles, ceramics, metal, wood and other materials of organic origin, physical anthropology, palaeobiology, etc. These collections require increasingly complex technical and scientific organization, and the technical departments of the museum are consequently organized to deal with research, preservation and cataloguing.

Archaeology in Peru was mainly developed by foreigners, and this has not facilitated the establishment of large specialized centres, since the very nature of the investigations made it necessary for the analysis and processing of archaeological materials to be carried out in laboratories and workshops outside the country. This situation still exists. Au materials except those that can be studied without using special technical resources must be sent to centres in other countries.

O n the other hand, archaeological research has become much more technical in the last ten years. Hence the need for laboratories for carrying out analyses, workshops for processing materials, etc., has become increasingly urgent.

The items preserved in the museum require special treatment and study which can only be carried out if well-equipped laboratories and workshops are available. If we add to these items a similar (or greater) number of equally important pieces scattered throughout small museums, private collections, universities, etc., we realize that we are faced with an emergency which must be dealt with quickly. Other points to be taken into account are the constant increase in the amount of materials resulting from archaeological work and the confiscation of objects brought to light by illegal excavation.

Hitherto the museum has been unable to establish an infrastructure capable of carrying out any specialized research. A n infrastructure of this

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kind cannot be established rapidly; it presupposes both a minimum of material installations and the training of staff. However, a beginning was made in 1974, with the financial sponsorship of the Peruvian foundation EDUBANCO (of the Continental Bank), which has guaranteed its aid for five years. This will make it possible to provide a specialized library for pre-Columbian studies, with bibliographical services, a map library, photograph library and film library, for which a special building has already been constructed.

Furthermore, under an agreement with the Commission for Educational Exchange between the United States and Peru (Fulbright Commission), a programme of specialized training and refresher courses has been organized to enable our technicians to attend apecialized institutes in the United States under fellowships granted for between six months and two years. At the same time, the agreement provides the museum with North American specialists and graduate students who assist in carrying out our programmes for the training of staff and the organization of technical services.

The museum's promotion and dissemination work takes the form of exhibitions, lectures, short courses, guided tours, etc. Its exhibitions are of various kinds. There is a permanent exhibition which shows the process of the evolution of Andean man from the time of the first migrations to the Central Andes 200 centuries ago until contact was made with the European world in the sixteenth century. The development of the culture of the early Peruvians and their principal art forms in the Chavín, Mochica, Chimú, Huari, Paracas, Nasca and Inca styles, among others, can be traced, in chronological order, by studying the ceramic pieces, stone and metal objects, etc., with the help of explanatory captions, engravings, photographs and other didactic material, including printed guides.

The permanent exhibition is intended to show social change as a gradual process of socio-economic transformation from nomad bands to town settlements and ultimately to a more sophisticated form of society.

It shows how the processes of the domestication of the llama and the cultivation of the most common plants probably took place, both in the mountains and along the coast, and then illuatrates the technological achievements of rural people who began to build religious centres and homes, replacing their former natural shelters by huts and houses near places where food could be found. This first chapter in our long history closes with the rise of textile technology and the introduction of ceramics. We then enter the era of civilization, the coming of urban development.

Advanced agricultural technology, industry and trade made this new stage possible. Chavín men carved stone images of their gods; gold was discovered, and considerable progress was made in handicrafts; later, we find regional and urban cultures with social classes, poor people and lords, farmers, craftsmen, priests and kings, and specialized handicrafts at an advanced level of skill, indicating a high degree of domination of the environment.' During this period war became a predominant factor, with the consequent

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subjection of peoples. More food was produced and preserved, and this gave rise to a population increase. Arable land was extended, and the use of water systematized.

Communal grouping and communication between valleys gave rise to the formation of regional States, the highest development of which was reached in the fifteenth and sixteenth centuries by the Incaic Empire. This stage of our history ended with the Spanish conquest in 1532.

In addition to the permanent exhibition, there are others on specific aspects of Andean culture, such as metallurgy, architecture, medicine, etc. Temporary exhibitions are also organized in order to show specific aspects of Andean culture, as well as the cultures of other areas. For instance, an exhibition on meso-American cultures was recently held in co-operation with the Mexican embassy.

The museum also carries on important activities outside its own premises. It co-operates with community and educational organizations, pre- paring exhibitions for schools and remote towns. It also takes its exhibitions to the provinces and, in co-operation with similar institutions, to different countries throughout the world. In 1975-76, it presented exhibitions in Japan, Italy and Cuba.

NATIONAL MUSEUM OF HISTORY

T h e basic function of the National Museum of History is to safeguard, study and disseminate information about vestiges of the past in Peru. A museum should not be a repository of inanimate objects, but a place where they take on life and meaning for present-day man; accordmgly, the National Museum of History, by means of its exhibitions, seeks to show the continuity of Peruvian cultural development in the nineteenth and twentieth centuries, and to make information about it available to the entire community.

The permanent task of the museum is to promote research and to reassess documentary records and interpret them in the light of new developments in research. The symposium that is to be held on ‘ethno- history and Andean anthropology’ is an example of this new approach to the study of documentary material.

The National Museum of History succeeds the former Bolívar Museum, the Museum of Independence and the Musenm of the Republic, which were housed in the same building, the Quinta de Magdalena Vieja, from 1921 to 1934.

It has a specialized library and archives of historical documents. It also publishes a review entitled Historia y Cultura.

The museum is divided into three sections dealing with different aspects of Peruvian history, the emphasis being placed on the period of independence.

The first section is the Casa de los Libertadores, formerly a manor house

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built by the Viceroy Joaquín de la Pezuela in the early years of the nineteenth century. It was subsequently occupied by the liberators, San Martin and Bolívar, and served as the seat of the so-called ‘Gobierno de la Magda- lena’ of Francisco García Calderón, during the W a r of the Pacific. This building forms the entrance to the museum, and is specially designed to depict the decline of the Spanish Empire in Peru and the advent of political independence.

There is an important picture gallery in this section, with portraits of persons who were directly involved in the independence movement. Canvases painted by José Gil de Castro, known as the ‘painter of the liberators’, among which are full-length portraits of the liberator, Simón Bolívar, and José Olaya, one of the leaders of the independence movement, form the nucleus of the collection. Among other important canvases is an oil painting of the Battle of Ayacucho, based on a sketch of the Pampa de la Quinua, made while the battle was raging, in which the painter has laid special stress on the disposition of the troops and the natural background.

The colonial oratory of the old manor house is preserved in this first section of the museum and a special room has been set aside to display personal articles belonging to Doña Manolita Sáenz, Bolivar’s lady-love.

The show-cases in this section contain objects related to the lives of the liberators as reflected by their stay in the house-objects such as the desk used by Don José de San Martin and Simón Bolívar’s bedstead.

The second part of the museum is the colonial gallery which runs round part of the old garden, with the fig tree which Bolívar planted in the pres- ence of Bishop Francisco Javier de Luna Pizarro, President of the First Congress of the Republic.

The exhibition is made up of two parts. The first gives a panorama of Peruvian colonial art, especially that of Cuzco, consisting of outstanding paintings and articles belonging to colonial Peruvian artists.

T h e second part of this gallery, which is larger than the first one, contains a valuable collection of original portraits of the rulers of colonial Peru, beginning with Governor Francisco Pizarro and ending with Viceroy José de la Serna, who surrendered in Ayacucho on 9 December 1824.

T h e show-cases in this gallery give one an idea of what everyday life was like during this stage in Peruvian history. The exhibition includes colonial weapons, period costumes, liturgical objects and household furniture.

T h e third section of the museum, which contains a number of rooms, is intended to give some idea of the first century of republican Peru. Among its most important exhibits are the first Peruvian flag, designed by José de San Martin, the ‘Declaration of Independence’ (an oil painting by the Peruvian artist Lepiani), the Order of the Sun, designed by San Martin, and Simón Bolívar’s sword.

This display of republican history also includes a small gallery of nineteenth and twentieth-century Peruvian paintings dealing with historical events that took place in republican Peru.

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NATIONAL MUSEUM OF PERUVIAN CULTURE

The aims of the National Museum of Peruvian Culture, which was founded in 1946 by Luis E. Valcárcel, axe to carry out research on, and preserve and publish information about the creative activities of Andean man throughout his cultural development; in other words, to show the continuity of certain forms of popular art and technology. Its collections therefore include items from pre-Columbian times and the colonial and early republican periods down to the most recent forms of popular art, or what is technically called folk culture.

This museum meets the need for an overall view of history showing the continuum of Peruvian culture. Such a view is essential to the consolidation of our national identity, the constitution of which is the result of the amal- gamation of a number of ethnic groups and peoples. In this respect it differs from what a great museum of Peruvian archaeology should be, since the pre-Columbian Peruvian cultures, which extend over no less than 200 centuries, deserve to be given individual treatment so as to throw light on their achievements.

It is the duty of the National Museum of Peruvian Culture, as a body called upon to set forth the various stages in our culture, to organize exhibitions that are organically linked and convey a sense of history; in other words, exhibitions that are both synchronic and diachronic. This goal is attained through two specific and equally important functions-research and preservation. The former is based on the need to increase our knowledge of all fields of anthropology, including ethnology, archaeological and traditional technology, ethno-history, linguistics and folklore; the aim of the latter is to safeguard and preserve vestiges of the past and keep them for future generations-in other words, to conserve them. Technical measures must be taken at all times to avoid their loss, deterioration or destruction, and this requires the installation of laboratories designed for the purpose.

If this principle, which governs the operation of the National Museum of Peruvian Culture, is to be applied fully, specialized staff must be engaged and museographic collections and technical equipment must be acquired.

The expansion and remodelling which have already been planned will make it possible to bring the museum into line with current museographical trends, in that its displays will serve not only the specialist and the student, but also the entire community. The aim is to present an overall view of Peruvian cultural development, using aids recommended by museo- logical technicians to supply or supplement information which is lacking on certain points-replicas, copies, photographs, dioramas, cinema, sound recordings, etc.

The work of the museum could be rationalized if there were special sections for the different levels of intellectual development of visitors. Introductory rooms might be provided for schoolchildren, where they could

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be given elementary lessons by qualified staff, so that they could appreciate more fully the material exhibited. A large and specialized staff would be required, but it could easily be provided by using volunteer museum workers.

Another policy that should be adopted is that of holding exhibitions outside the museum’s own premises, for it is an important part of the work of every museum to provide out-of-school education. For this purpose it must frequently publish material of an educational nature.

At present the National Museum of Peruvian Culture has on display in its exhibition rooms the most representative examples of ‘popular’ Peruvian art of every period. It has some 5,000 pieces in its collections, and 2,500 of them are displayed.

There are unique ceramic pieces from Santiago de Pupuja (Puno), including fine examples of the famous ‘bull of Pucará’, named from the place where it is sold, and ceramic pieces from Quinua (Ayacucho), as well as from Amazonía and other regions of Peru.

The art of the decorated mate (ornamental teacup), which dates from remote times, is very well represented in this display, perhaps the most complete one in the permanent exhibition. There are large water-colours, showing a considerable amount of detail, thus documenting this exhibition of pieces from the pre-Hispanic, colonial, nineteenth-century republican and present-day periods.

A selection of other pieces, ‘Passion crosses’ and carved chests gives an idea of this popular art form in the Department of Ayacucho.

Textiles and garments from various regions of Peru are displayed in a special room. A large poncho and a rug from the ‘transition’ period are outstanding for their size and beauty.

Popular carving is also well represented by stylized figures of the three Magi, dancers, saints and processions. There are also masks of a satirical or magical nature, representing well-known personages, which were generally used in religious or secular festivities.

In the room devoted to Amazonian tribes, a variety of ceramic pieces, garments, arrows, ornaments and other items show us the quality of their art, which is highly symbolic.

There are twenty magnificent water-colours by Pancho Fierro, a popular twentieth-century painter from Lima, together with a portrait of him painted by Nicolás Palas.

The colonial statuary collection shows the visitor the exquisite work of the santeros (carvers of saints’ images) and indigenous painters, as well as the famous ancient figures carved in stone from Huamanga (Ayacucho).

The museum also exhibits a small but very select collection of ceramics, painted and embroidered textiles and woodwork from ancient Peru, thus completing the panorama of the various stages in Peruvian art and its development. In this way it achieves its objective-to familiarize the public with Peruvian art forms and culture of all periods.

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Noteworthy research and preservation work has been done by the skilled staff, who for many years have devoted themselves to safeguarding and displaying the art forms of the various regions of Peru. Their work is obviously bearing fruit for there is now great interest in ‘popular art’, which used to be looked down upon-so much so that the National Culture Prize for 1975 in the plastic arts was awarded to a ‘popular’ artist, Joaquín López Antay, a painter of altar-pieces from Ayacucho whose works have been exhibited in the museum for thirty years.

The museum has a library which is open not only to research workers but also to university students. At present the library collection exceeds 5,000 volumes; it is the first specialized library in Peru to deal with the Andean area. One of its main functions is collecting and Gling articles concerning Peru that have been published in national and foreign periodicals.

The Revista del Museo Nacional, which is published by the museum, is the oldest specialized scientific journal that has been published without interruption in Latin America. Its principal contributors are its o w n research workers and national and foreign research workers who deal with the anthropological aspects of Peru.

Regional museums

The main regional museums are the following: Regional Museum of Ancash Huaraz, which has a large collection of Chavín

stone, Mochica, Chimú and Inca ceramics and textiles, mate drinking vessels and wooden instruments from various places along the coast.

Regional Museum of Ayacucho, with its headquarters in the ‘Simón Bolívar’ Cultural Complex, which was donated to Peru in 1975 by the Government of Venezuela. Its collections include archaeological pieces from the area, belonging to different periods, sixteenth to nineteenth- century paintings and historic items related to the independence movement, especially weapons used in the Battle of Ayacucho.

Regional Museum of Cuzco, which possesses a valuable collection of sixteenth to nineteenth-century Cuzco paintings, as well as other articles and furniture of the same period. It also exhibits a small but important collection of pre-Hispanic Cuzco ceramics.

Regional Museum of Ica, which has a rich collection of pre-Columbian ceramics, with special emphasis on the Nasca, Paracas and Chincha styles. It also possesses coats made of cloth and feather, and an oste- ological collection, including skulls that display anomalies, artificial deformation and the marks of surgical operations.

‘Brunning’ Regional Museum of Lambayeque, which has a large archaeological collection of gold pieces. It also has a h e collection of ceramics, especially the type known as Vicús, and a small collection of textiles and stone pieces.

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Centre for the Investigation and Restoration of Monuments

T h e purpose of the Centre for the Investigation and Restoration of Monu- ments, which was set up in 1973, is to investigate, protect, conserve, restore and catalogue both fixed and movable monuments dating from the pre- Hispanic, colonial and republican periods. It conducts its nation-wide activities through two regional centres, and also through local centres in various places of archaeological and historical interest.

For the purposes of the scientific and technical work of specialists in the conservation of the nation’s monuments, the centre has been divided into departments, each of which carries out practical projects in its own field, in accordance with a programme based on the general policy for the area. At present, the Centre for the Investigation and Restoration of Monuments has five departments: Archaeological Monuments, Research on National Monuments, Restoration of Monuments, Historic and Artistic Monuments, and Conservation of Works of Art. These departments are staffed by professionals, who collaborate and pool their experience, in archaeology, anthropology, architecture, engineering, chemistry, the history of art, and also the techniques of conservation, restoration, cataloguing, photography and archives.

DEPARTMENT OF ARCHAEOLOGICAL MONUMENTS

This department is responsible for the protection, conservation, registration and presentation of fixed and movable archaeological monuments situated in Peru. Its principal functions are to supervise, catalogue, register and survey monuments and archaeological zones and to delimit the area to be dealt with. It works at national, regional and local levels; its staff consists of the archaeologists of the Centre for the Investigation and Restoration of Monuments.

The centre has three sections, which are responsible for the supervision, cataloguing and surveying and delimitation of archaeological monuments respectively. The regional centres of Trujillo and Cuzco have their own separate departments of archaeological monuments. The archaeological areas of PuruchuCo, Pachacamac, Sechín, Chan-Chan, Puno and Ayacucho have local centres for research and conservation, each of which is under the authority of a resident archaeologist.

T h e department is at present surveying and inventorying archaeological monuments and marking out those parts which are to be left intact. Among archaeological monuments requiring urgent attention, priority is given to those of metropolitan Lima and areas of urban expansion. Nevertheless, other regions of the country also receive attention, according to the funds and manpower available.

Studies with a view to inventorying and surveying are now being

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carried out in various coastal valleys and highland basins: Rímac, Lu&, Chancay, Cañete and Ica. Similar studies have been started in Ayacucho- Huanta-San Miguel and Mala.

In order to defend and protect archaeological monuments it has been necessary to mark out their boundaries, provide wardens and co-operate with bodies in the public and private sectors for the protection of more than twenty of them. Among the most important of these are the rock carvings of Checta, the archaeological remains of Villa El Salvador, Mateo Salado, Los Tres Santiagos and Huerta Santa Rosa, in Lima, and Tambo Colorado, in Pisco. This is a never-ending task which is closely bound up with the activities of bodies in the various sectors, especially in urban districts. A comprehensive preliminary study has also been made with a view to the delimitation and conservation of the geoglyphics of the Pampas de Nasca, in Ica.

The Department of Archaeological Monuments also catalogues archaeological objects in private collections and keeps records of them, and it co-operates with other State bodies in safeguarding the movable and immovable archaeological heritage.

DEPARTMENT OF RESEARCH ON NATIONAL MONUMENTS

The aim of this department is to draw up research projects and conduct research in the fields of archaeology and the history of art. It is at present engaged in archaeological research in Garagay, Villa El Salvador, Los Tres Santiagos, Ancón, and the Pampa de San José; all these are sites in the valley of Lima. T h e department supervises archaeological research projects (excavation or exploration) carried out in the country, and it gives advice and information on projects being conducted by national and foreign research workers in Peru; its advice and reports are submitted to the Commission for the Appraisal of Archaeological Projects, and constitute a basis for the agreements concluded by the latter. The department also advises the management of the centre on technical questions concerning archaeological research; it co-ordinates the archaeological research work done by individuals and establishments specializing in such work, promotes research and answers queries put forward by the Directorate of the Centre or the Technical Directorate for the Conservation of Monuments and the Cultural Heritage on points connected with archaeology and the history of art.

T h e centre's most important research project at present is that being carried out in the archaeological complex of Garagay, situated in Lima, very close to the international airport. It is a large, U-shaped ceremonial complex, comprising three pyramidal structures around a large comrtyard. Its walls are decorated with multicoloured friezes, with mythological images

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in relief which are obviously related to the Chavín art of the mountains of the north. The relics of past cultures include unique items such as a set of modelled figures which were certainly votive offerings.

Simultaneously with the excavations, work proceeds on the study and processing of the objects found, in order to ensure their conservation. For the time being, work on the site is at the research stage; in a few years’ time it will be possible to open it to the public, and arrangements are being made accordingly-boundaries are being marked out, a wall is being built around the site, and a museum is being constructed.

DEPARTMENT FOR THE RESTORATION OF MONUMENTS

This department is responsible for the conservation and presentation of the immovable cultural heritage. It is a technical body, staffed by professional architects and engineers who have specialized in the restoration of ancient buildings. Its work covers all aspects of restoration, and its activities are as follows:

Surveys

Before this department takes action, a careful study is made of immovable property which is declared to be a monument, in order to delimit the scope of the planner’s work.

This study includes the investigation and examination of floors, walls, roofs, structures and, in general, all components of the monument. The original plan for distribution, decoration and alterations may be adjusted in accordance with this study.

In addition, archives, libraries and photograph collections are searched, in case they contain other information which will make it possible to place the monument in its correct temporal and spatial context.

Work accomplished so far includes the restoration of the following monuments: the Belén Complex, in Cajamarca; the churches of Belén and Huamán, in Trujillo; and the Casa de Pilatos (headquarters of the National Institute of Culture), the Quinta de Presa, the Casa de Canevaro (headquarters of the Centre for the Investigation and Restoration of Monuments) and the Museum of Italian Art, all of which are in Lima.

Various public bodies have collaborated in the work of restoring monuments with the aim of purchasing them for use by their branch offices. In this way a considerable amount of restoration work is being done in the towns of Ayacucho, Cuzco, Lima and Trujillcr.

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Implementation of restoration and new building projects

In the Lima area, the department is directly responsible for the restoration work which is either planned by the National Institute of Culture or entrusted to it by another establishment. For work outside that area, the department acts solely as a supervisor.

Supervision and control of private projects

Projects for the restoration of monuments and their adaptation for new uses which are not carried out by the Department for the Restoration of Monuments, or by another branch of the National Institute of Culture are constantly supervised, or advice about them is proffered, and they are also subjected to checks and inspections intended to avoid irreversible damage both to the buildings, considered separately, and to the general aspect of cities.

DEPARTMENT OF HISTORIC AND ARTISTIC MONUMENTS

Its activities may be summarized as follows: supervision of action taken that affects buildings of historic or architectonic interest; dealing with requests for registration, cataloguing and permission to export works of art; compiling inventories and catalogues of the immovable national heritage; assessing the artistic and historical worth of such buildings, to determine whether they should be declared to be monuments; carrying out surveys for the delimitation of monument zones and urban areas containing monuments in towns or villages in Peruvian territory; and giving technical advice on the conservation and treatment of monuments, buildings of historic and/or artistic interest, and zones and urban areas containing monuments. T h e department also advises the regional commissions.

The secretariat of the Technical Commission for the Assessment of Architectonic Projects, whose duty is to maintain the fìles for assessment, comes under this department.

DEPARTMENT FOR THE CONSERVATION OF WORKS OF ART

The task of this department is to protect, conserve and enhance the value of the movable artistic heritage. To this end, it studies and restores works of art as required. For the purposes of its work, the department is equipped with a large modern chemistry laboratory and workshops for painting, sculpture, textile production and ceramics. Its technicians co-operate closely in their work.

The department works in collaboration with the other departments of

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the Centre for the Investigation and Restoration of Monuments and decides what types of treatment and materials should be used in restoring monuments. It likewise gives expert advice, inspects works of art and handles requests to export contemporary works which do not belong to the national heritage of monuments.

The Centre for the Investigation and Restoration of Monuments also has three auxiliary ofices whose services are available to all the departments. These are: Archives and Library, Topography and Drawing, and Photography.

The National Institute of Culture and the COPESCO Plan

The COPESCO Plan originated with a request from the Peruvian Govem- ment to the United Nations for technical assistance in developing tourism in the Cuzco-Puno area; this task was entrusted to Unesco. A number of Unesco missions decided upon the goals to be pursued; the measures taken by the Peruvian Government were based on Unesco’s reports and recommendations.

The Special Commission for the COPESCO Plan was set up in 1969. This inter-ministerial commission, whose chairman is the Minister of Industry and Trade, consists of delegates from the Ministries of Housing, Education, Foreign Affairs and Transport and Communications, and from the National Planning Institute, the General Directorate of Tourism and the General Management of the National Tourist Company; it is advised by the experts and consultants of the United Nations Development Pro- gramme (UNDP).

In 1973, as a result of the studies undertaken, a request was submitted by the Peruvian Government to the Inter-American Development Bank (IDB) for a loan, to be used to finance the programme for overhauling infrastructures, restoring monuments and building hotels in key spots, in order to attract more tourists and, hence, foreign currency, which would help in the general development of the area.

The zone to which the COPESCO Plan applies covers an area of approximately 500 square kilometres in the eastern part of the Peruvian Andes, between the Vilcabamba and Vilcanota ranges. It includes Lake Titicaca, which was the most densely populated region in the country in pre- Columbian times, and the city of Cuzco, the capital of the empire, around which a series of Indian settlements sprang up, in about the year 1570, gaining in importance as time went on. They include: San Sebastián, San Jerónimo, Andahuailillas, Urcos and Sicuani; in the valley of the river Urubamba, the village of the same name; Pisac, Calca and Chincheros. In the mid-sixteenth century, the Jesuits founded a group of missions on the shores of Lake Titicaca, which later took on considerable importance: Puno, now the capital of the province, Ilave, Acora, Juli, Pomata and Zepita.

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The main purpose of the COPESCO Plan is to make the area as attractive to tourists as possible. To achieve this, the infrastructure must be aug- mented: more and better hotels are needed, and more roads and railways; certain areas must be supplied with electricity, and the water mains and sewage networks must be expanded and improved. The pre-Hispanic and vice-regal monuments of the Puno-Cuzco axis are the main feature of the project and it is to be expected that adequate restoration and presentation of these monuments and their promotion as a tourist attraction, together with improved means of access and hotel accommodation, will result in an increase in the number of visitors to the area.

The monuments to be found in the Cuzco-Puno area form one of the richest and finest groups from the point of view of archaeology, architec- tonics and art. Few areas in Latin America can boast monuments in such profusion and of such high quality as this zone. There are important monuments dating from the ninth century A.D. to the present day; we need mention only, in the field of archaeology, Pucará, Machu Picchu, Ollantaytambo and Pisac, and in the vice-regal period the cathedral and church of the Compañía del Cuzco, the churches of Andahuailillas and Juli, and the cathedral of Puno. Besides these, there are the many ceramic, stone and metal objects from the pre-Columbian period and a profusion of works of painting, sculpture and silverwork from the periods of the viceregency and the nineteenth-century republic. It should be borne in mind that there are more than a hundred archaeological sites and that the production of the Cuzco school of painting is estimated at several hundred thousand pictures. In every church, besides the pulpit, picture-frames and other gilded ornaments, there are at least two or three gilded altar-pieces with multicoloured images. Altar frontals, steps, sanctuary, tabernacle and sacred vessels made of silver are to be found in any church. The monstrance, made of gold and precious stones, that is used in the Cathedral of Cuzco weighs 22 kilograms, and that of the church of La Merced almost as much, The three enclosed convents of the city of Cuzco contain a wealth of artistic treasures. The PER-39 Project has listed some 500 paintings in the convent of Santa 'Teresa. However, the existence of the citadel of Machu Picchu alone would be enough to make the area outstandingly attractive to tourists.

The state of repair of most of these monuments is not what it might be. As a result of weathering, neglect and shortage of funds, the great majority of the monuments are urgently in need of conservation, maintenance and restoration.

The projects for Puno include restoration of the cathedral of Puno, four churches and the Casa Cuentas Zavala in Juli, and also the excavation and development of the archaeological complexes of Sillustani and Pucará.

Work is now under way on this last site, 150 kilometres north-east of Puno. The work began in August 1976, simultaneously with the initial course on archaeological techniques sponsored by the National Institute of Culture and Unesco, in which some twenty archaeologists, both from Peru

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and from the countries of the Andean Group took part. The results of the archaeological excavations thus undertaken are already evident and one of the oldest and most important cultural settlements in the history of Andean man is being revealed.

It should be noted that the COPESCO Plan has undergone a gradual transformation; it began as an attempt to reconstitute the monuments so as to improve and increase tourism in the area, and has become an overall plan of development for all the sectors involved in the socio-economic life of the region. Although this change has meant a shift of interest from the monuments themselves to a more general concern with all sectors, it has been borne in mind that the main issue is tourism, and that cultural tourism depends on the monuments, which are the principal centre of attraction and the factor which will promote development. The best proof of this is Machu Picchu, which receives more visitors than any other monument in South Am erica.

Training in the arts

For a long time, art education in Peru was unrelated to the real situation of the country. As a result, the artists trained were out of touch with their social environment, and were conditioned to serve a privileged minority. This was certainly not the kind of education which could develop significant relations between artistic achievements and society.

On the other hand, the traditional means of exhibiting and selling works of art (galleries, museums, concert halls and theatres) and the mass media (radio, television and record companies) offered virtually the only opportunity for artists to work, and this meant that there was a small group of ‘recognized’ artists, while the vast majority of them were unemployed, and subsequently abandoned their work to look for an occupation in which they could earn a living.

Moreover, the training in the arts provided in schools and colleges helped to reinforce the ideology of the system, by encouraging respect for ‘recognized) art and uncritically supporting the existence of a culture which was alien to the concerns of the majority.

The educational reform which the revolutionary government began in 1969 is one of a number of far-reaching structural changes now in progress; it is in line with new ideas about all levels, methods and aspects of education. T h e main features of its philosophy, which is embodied in the General Law on Education, are: the humanistic and democratic nature of the new education; education through work and for work, and for the assertion of our national identity; education based on the values of a critical national outlook, creation and co-operation, and new, flexible and diver- sified teaching methods-in short, education to eliminate cultural domination and to free the creative and expressive abilities of Peruvians.

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SCHOOLS FOR TRAINING IN THE ARTS

According to its statutes, one of the aims of the National Institute of Culture is to provide training in the arts in specialized educational centres and in accordance with the General Law on Education.

As from 1973, on this legal basis, the institute took over the national and regional schools of art previously controlled by the Ministry of Edu- cation, which give effect to its policies.

Various commissions made studies and appraisals of the schools of art. In April 1976, one of them submitted to the ministry a proposal regarding the structure of the system for vocational training in the arts.

A general idea of the new direction in which these schools are heading can be gained from the suggestions made by these commissions. In music, for example, the aim is to cater for every level, providing not only theoretical teaching, but also practical training, which awakens creativity, helps people to understand music and stimulates the desire to become familiar, through research, with all the aspects-the past history and the future possibilities-of music in our country. These suggestions also advocate turning to the community, as a means of gathering fresh stimuli and new ideas which express the rightful aspirations and needs of society.

On the practical side, some of these objectives have been embodied in advanced and intermediate-level technical courses, and also in folk music workshops, where those who wish to become professional musicians can apply their theoretical knowledge. Furthermore, emphasis has been laid on conducting choirs as a means of uniting the community artistically and socially. For this reason, the greatest attention is paid to the social implications of such work, so that educational activities may be co-ordinated, expanded and interrelated.

A commission set up in September 1976 to implement the strategy for the gradual reform of schools of art is now at work; conversion will begin in January 1977.

There are twenty-six institutions in the area which carry out the above- mentioned policies. Their aims are as follows: (a) to train professionals in the various arts in accordance with the academic and pedagogical standards approved by the General Directorate; (b) to contribute to the development and promulgation of the arts throughout the country, in accordance with the cultural promotion plans approved by the General Directorate; (c) to conduct research in the area concerned.

These schools have traditionally offered training in five branches of art: drama, folklore, fine arts (plastic arts), ballet and music.

There are schools catering for all these branches in the capital of the republic. Regional schools specialize in the same branches, with the exception of folklore.

There are two drama schools, one national, in Lima, and the other regional, in Trujillo.

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The National Drama School was founded in 1946, and was at h s t known as the National School of Theatrical Art. In 1957, it was reorganized and moved to its present premises (La Cabaña Theatre). Since then, it has attracted the best actors in the country, and has put on such major works as La Celestina and Threepenny Opera.

It is at present reorganizing its curriculum. As well as courses in acting and stage design, lasting three and two years respectively, puppetry and production will also be available as special options from 1977 onwards.

The National School of Folklore, established in 1948, is reorganizing its training and research work in the following areas: courses for performers, including training in playing Andean instruments-the charango, guitar, violin, flute and harp-and artistic guidance; assessment and registration of performers; extension courses, given from time to time for ordinary school pupils who have been tested beforehand; research (in the next two years, training courses will be available in methodology and techniques of research for students who wish to do research in folklore).

As a result of these activities it will be possible to: (a) direct the work of conservation, promulgation and promotion of specimens of folklore, seeing them in a critical perspective which wiU help to prevent them from being distorted and their authenticity denied and will contribute to their recovery and reassessment; (b) in addition, carry out research into Peruvian folklore and its socio-cultural setting. To this end, priority should be given to establishing first-hand contacts with performers in the traditional arts.

For the plastic arts, there are a national school and two regional schools. The National School of Fine Arts, which since it was founded, has been

housed in a seventeenth-century colonial building listed as a national monument, is the oldest establishment in the country providing an education in the arts. It was founded in 1919 by the Peruvian painter, Daniel Hernández; it has a long tradition, and it is rightly held in esteem, for it has trained many eminent workers in the plastic arts in Peru today.

José Sabogal, a very important figure in the Peruvian arts, was principal of the school in the 1930s and early 1940s; he was responsible for conceptual and technical revival, casting off the influence of the European academic tradition and instilling in the students the creative spirit of a new kind of art, which drew its inspiration from indigenous themes.

Sabogal was the founder of the ‘indigenous’ movement in painting, some of the most outstanding members of which are Julia Codesido, Camilo Blas (Alfonso Sánchez Urteaga), Enrique Camino Brent, Jorge Vinatea Reposo and Carlos Quispez Ash.

Today, the school offers courses in painting, sculpture, sketching, the graphic arts, engraving and ceramics: the last three were introduced recently.

The oldest of the regional h e arts schools, that of Cuzco, has been in existence for more than twenty-five years; the others are more than ten years old. These regional schools operate in the towns of Piura, Trujillo,

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Huaraz, Iquitos, Ica, Ayacucho, Arequipa, Cuzco, Puno and Juliaca. Since 1968, the schools have followed a common-core curriculum; they all offer courses in painting and sculpture, and in addition-as optional courses which will give students the chance of a better job-the following: engraving, mural painting, commercial art, ceramics, woodwork and stone-cutting.

The course in both the National School and the regional schools is at present of six years' duration.

For technical reasons, since these schools accepted students who had not completed their secondary education, diplomas were not awarded, but only proficiency certificates. The awarding of diplomas in the National School was suspended for the same reason. A ministerial resolution of September 1976 laid the foundations for the endorsement of professional attainments by the National Institute of Culture.

Professional ballet training is given in the National School of Ballet. This school, founded in 1967, was the first to offer a training course for dancing teachers at the level of common-core secondary education.

The school has a junior training section for children and young people between the ages of 7 and 15; this is intended to provide an introduction to dancing which will enable them subsequently to take the vocational training course. The junior course lasts seven years and the vocational course for four years, and these together constitute the hst part of the advanced course; the second part of the advanced course is still at the planning stage.

There is a National School of Music in Lima, and twelve regional schools in the towns of Piura, Chiclayo, Huaraz, Trujillo, Iquitos, Huánuco, Junín, Ayacucho, Arequipa, Cuzco, Puno and Juliaca.

The National School of Music was founded in 1945 as the National Conservatory of Music, a branch of the Alcedo National Academy of Music. Musical education in Peru then entered a new stage, that of vocational training. Study plans and syllabi for the higher levels were drawn up. New subjects such as composition, conducting and music-teaching were introduced, and the training of instrumentalists and singers was improved. The National Symphony Orchestra, founded a few years previously, assisted in raising the standard of teaching and in opening up more occupational opportunities.

Nevertheless, although this was a great step forward, the fact remained that the conservatory was designed on the lines of European models and, although it provided a Western type of musical training, it did not meet the real needs of Peru as a Latin American country, whose problems were quite different from those of its models. Its leaders did everything they could to solve these problems, but their efforts did not win sufficient support or understanding from the authorities of the time. Perhaps the greatest achievement was the opming of the regional schools.

Since 1971, although the Law on Education had not then come fully into force, the National School of Music has been drawing up plans and

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projects which will serve later as models for other institutions providing a training in the arts.

The school offers vocational options in creative music (composition), performance (vocal and instrumental performers and conductors of orches- tras and choirs) and research.

A n experimental ‘folk-song workshop’ has been set up as a centre for the technical and practical further training of composers and performers of folk music.

The regional schools of music initially received technical support and guidance from the National Conservatory of Music. However, in about 1960, support for the musical development of the schools was discontinued, and the situation deteriorated until 1973, when they were converted into executive bodies, responsible for providing training in the branches of art covered by the National Institute of Culture.

Until 1973 these schools had no official curriculum, and every school planned its own courses. Only practical courses were given in the various subjects, with two theoretical courses, in musical theory and tonic sol-fa.

Although conditions were so bad, the regional schools often worked out ingenious solutions to their problems. For example, they made their own instruments, taught their pupils two or more instruments, etc.

In the schools of music, as in those of ballet, there are junior training sections designed to give a grounding in music to children between the ages of 7 and 15.

EDUCATIONAL REFORM AND TRAINING IN THE ARTS

Since art education is an integral part of the Peruvian educational system, its objectives must be compatible with those of the system and attuned to the spirit of educational reform, which is perhaps the most important and ambitious of the reforms now under way.

Firstly, a new kind of training in art is needed, based on an education conducive to the development of a critical, creative and liberating awareness.

The aims of a training in the arts, starting with the initiation of reform, include the following: To develop critical ability in the creative arts, so as to achieve new forms

of individual and group artistic expression which will be conducive to the assertion of the national identity and the cultural transformation of the country.

To provide vocational training in the arts which will enable students to work in the special fields corresponding to the various activities necessary for national development.

To consolidate and broaden the training acquired in the humanities, science and technology at the lower levels.

To encourage research in art, science and technology, taking the economic, social and cultural situation of the country as a starting-point.

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To encourage the public to participate, and hence to achieve cultural integration, so that its genuine need for artistic expression may be satisfied.

To generate awareness of the artistic identity of Peru, through understanding of our position as a pluricultural and multilingual country.

To reinstate and promulgate the artistic heritage and the spiritual legacy of the Peruvian people.

To give impetus to the artistic activities of the Peruvian people as an expression of their national identity, and to promote such activities on a national and international scale.

The attainment of these objectives will require a tremendous effort on the part of the National Institute of Culture. The teachers and administrative staff now employed must be assessed as to standards, trained and given refresher courses. Effective steps must also be taken to provide the infrastructure and educational materials needed by all the art schools in the country, and for this purpose it will be necessary to have recourse to international bodies. Likewise, in the light of the demand for educational services in Peru, new institutions to provide training in art must be set up, and those which do not meet the requirements of their areas must be relocated. Furthermore, syllabi will have to be restructured so as to meet the requirements of the new objectives.

There are grounds for hope that the change of outlook which will come about in the schools will give a stronger impetus to production activities leading to their becoming self-sufficient and self-financing. Moreover, the detection in advance of the various professional options available, through a diagnosis of the situation, will make available technical data on the vocational opportunities arising in each region, in accordance with the plans for the development of the country.

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[B.12] CC.77/XIX.42/A

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