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  • ICAA Record ID
    1139278
    TITLE
    Revolución en la artesanía
    IN
    Sinamos Informa (Lima, Perú). -- Vol. 2, no. 6 (1972)
    DESCRIPTION
    p. 72 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – notes
    BIBLIOGRAPHIC CITATION
    Sinamos Informa (Lima, Perú). "Revolución en la artesanía." vol. 2, no. 6 (1972): 72.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

This article is about the events organized by the self-styled “Gobierno Revolucionario de las Fuerzas Armadas Peruanas,” the revolutionary government of the Peruvian armed forces led by General Juan Velasco Alvarado, designed to support the artisan sector in Peru. The article refers to the recent decree that created the EPPA (Empresa Peruana de Promoción Artesanal), whose specific mandate was to protect and encourage the production of Peruvian handcrafts. The article also mentions the Plan de Desarrollo a Mediano Plazo, the medium term development plan to provide artisans with professional, administrative, technical, commercial, and financial training, and notes the creation of 191,000 new jobs during the next five-year period. Other governmental efforts to support artisan associations and cooperatives included the organization of national art competitions and large fairs, such as Naylamp 72, which was held in the northern city of Chiclayo in 1972. The article suggests that these initiatives were not solely the work of the government, but were promoted by artisan organizations as well.    

Annotations

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 artisan sector through the EPPA (Empresa Peruana de Promoción Artesanal, October 25, 1972) by the regime, 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 [see in the ICAA digital archive the unattributed newspaper review “Naylamp 72” (doc. no. 1139009)]. 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 also the following articles in the 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 “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)].

Researcher
Daniel Contreras Medina
Team
Museo de Arte de Lima, Lima, Peru