The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This is a newspaper review of the Primera Feria Artesanal Naylamp 72, the event organized in the city of Chiclayo in the northern coastal region of Peru. The review notes the participation of about three hundred artisans from sections in that part of the country, such as: La Libertad, Lambayeque, Cajamarca, San Martín, and Amazonas. The reviewer explains that, beyond the sale of products, the other goal of the Feria was to encourage a dialogue based on an exchange of experiences, techniques, and styles among the participants, who spent almost a week together at the fair. There were also cultural events involving poetry, local music, and general revelry. In view of all this, when the reviewer looks at “handcrafts taking off in Peru” he claims to see “a real industry that had never been considered as such.”
This article was published in the official journal of SINAMOS [Sistema Nacional de Apoyo a la Movilización Social], the agency created by the self-styled “Gobierno Revolucionario de las Fuerzas Armadas Peruanas” during its first term (1968–75) to publicize its activities. As part of the aggressive promotion of the handcraft sector by the regime through the EPPA (Empresa Peruana de Promoción Artesanal, October 25, 1972), the Peruvian government organized large-scale national fairs to attract the artisans of the country by offering to put them in touch with a market. The first major experiment of this kind was Naylamp 72, which ran from December 17 to 23, 1972, in the city of Chiclayo. Events of this kind were organized in the wake of earlier governmental attempts to blur the boundaries between “fine” and “popular” art, an initiative that prompted lively discussions among local intellectuals. This debate reached its climax in 1975, when, under controversial circumstances, the Premio Nacional de Cultura was awarded to Joaquín López Antay (1897–1981), the maker of traditional religious images and altarpieces, who was born in Ayacucho.
[As complementary reading about SINAMOS and Naylamp 72, see the following articles in the ICAA digital archive: by Alfonso Castrillón, Leslie Lee, and Carlos Bernasconi “Fundamentación para el dictamen por mayoría simple a favor del artista popular Joaquín López Antay” (doc. no. 1135896); by Alfonso Bermúdez “Premio a López Antay suscita controversias. Unos: consagración del arte popular. Otros: una cosa es arte y otra artesanía” (doc. no. 1135879); by Francisco Abril de Vivero, Luis Cossío Marino, and Alberto Dávila “Artistas plásticos cuestionan premio” (doc. no. 1135960); and (unattributed) “‘No todos nos quieren ni en Lima ni en Ayacucho’: así comentó sobre cuestionamiento a premio” (doc. no. 1135930)].
[See also the following articles, all unattributed, about the multidisciplinary festivals organized by SINAMOS, such as Contacta 72 (1972) in “Revolución en la artesanía” (doc. no. 1139278), “Arte libertario” (doc. no. 1138949), “SINAMOS Contacta 72: a los artistas y artesanos del Perú” (doc. no. 1138964), “Contacta 72 será una experiencia de significación” (doc. no. 1138979), and “Pueblo y arte se dieron la mano en Contacta 72: gran cita en el Parque de la Reserva” (doc. no. 1138994); about Inkari (1973) in “Reintegración. Inkari: un reencuentro esperado” (doc. no. 1139039); and about ORAMS IX (1975) in “Arte y Pueblo” (doc. no. 1139024)].