Sustaining the Sea: Communities, Knowledge, and the Safeguarding of Maritime Intangible Cultural Heritage in Pachacamac, Peru

The project develops community-based training, educational, and identity-strengthening initiatives aimed at transmitting the importance and value of Intangible Cultural Heritage (ICH) associated with coastal and maritime practices. Implemented in direct collaboration with actual artisanal fishing communities —including the Asociación de Pescadores Artesanales Las Islas de Punta Hermosa and fishers from El Silencio, Pucusana, and San Pedro de Lurín— these actions recognize local actors as key holders of traditional knowledge. The project focuses on the identification, documentation, and revitalization of this knowledge through participatory workshops, field-based learning, and collaborative documentation processes, supporting the transmission of ecological knowledge, fishing techniques, resource management practices, and cultural relationships with the sea. It integrates interdisciplinary educational components for students, researchers, and community members, combining archaeology, ethnography, and applied te

TEXTILES QUISPE: Weaving technique and Family Tradition

The Asociación de Artesanos Textiles Quispe is a family-based artisan workshop founded approximately in 1988 in Ayacucho, Peru, by Wilber Quispe Huamán and Pascuala Paredes Fernández, who together built a shared life around the ancient art of Andean foot-loom weaving. The workshop's origins trace back further: Wilber learned the craft from a family master weaver in Ayacucho city a relative who had inherited the tradition throughgenerations of practice rooted in the pre-Inca and Inca textile legacy of the Andes. In the early 1990s, the family relocated to Lurín, in the southern outskirts of Lima, bringing their looms, knowledge, and cultural identity with them. Over nearly four decades, what began as a two-person endeavor has grown into a six-member family workshop, with skills and values passed down to the next generation.The workshop specializes in hand-spun, naturally dyed wool weaving using traditional pedal Ayacuchan floor looms. Dyes are extracted from plants and cochineal, following techniques that pre

Roots of Amazonian Handicraft: Weaving and Family Tradition

Since I was 7 years old, I learned the art of natural weaving from my grandmother. She taught me the stitches, the Amazonian designs, and the symbols that represent our tradition.Over time, I continued perfecting this technique together with my siblings, and today we continue to pass on this passion for weaving, natural dyeing, and handmade jewelry. These works take us months to complete, but we always make them with love and dedication.

Ultra-Fine Manta Blanca of Tambogán, Cultural Heritage of the Nation

The ultra-fine Manta Blanca of Tambogán has been recognized as Cultural Heritage of the Nation due to its significant historical, cultural, and social value, as it constitutes a representative expression of the identity of the communities of the district of Tambogán, in the Huánuco region.This textile manifestation stands out for the preservation of traditional weaving techniques using the backstrap loom, transmitted from generation to generation. These techniques reflect ancestral knowledge related to the use of fibers, spinning processes, natural dyeing, and artisanal garment-making. Such knowledge constitutes a living cultural legacy that strengthens the continuity of traditional practices over time.Likewise, this recognition is aligned with the principles of UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage, ratified by the Peruvian State, which establishes the obligation of States to adopt measures to ensure the identification, documentation, research, preservation, promotion,

Safeguarding the Traditional Ceramics of Quinua through the Intergenerational Transmission of Ancestral Knowledge

The traditional ceramics of Quinua (Ayacucho), declared Cultural Heritage of the Nation of Peru in 2019, is an Andean artistic expression that preserves ancestral knowledge transmitted from generation to generation. Recognized for its use of local clay, earth-toned colors, and hand-modeling techniques, it represents the worldview, historical memory, and cultural identity of the Andean communities of Peru.This collective was founded in 1963 in the town of Quinua, Ayacucho, with the purpose of rescuing, preserving, and promoting Andean traditions, oral histories, and cultural expressions.Likewise, one of its main activities has been the education and training of young people and new generations in this ancestral craft, actively contributing to the continuity and safeguarding of intangible cultural heritage both within and beyond its community of origin.

"Tajimat Pujut" Awajún Women Artisans Collective of the Alto Mayo

Born in November 2024 as a courageous response to the degradation of their forests and the erosion of their identity, the Awajún Women Artisans Collective "Tajimat Pujut" has forged an extraordinary path of resistance and empowerment. What began as a vital effort to bring "the seeds back to the forest and to their hands" is now a consolidated network of more than 80 artisans from at least 16 communities and sectors of the Alto Mayo region. Together, they have revived the age-old use of botanical materials such as the aromatic sekut (wild vanilla) and seeds like kumpia and huayruro, transforming bio-jewelry into a "second skin" that not only preserves their worldview but also actively defends their territory. Their evolution, however, goes far beyond handicrafts: through innovations such as the Awajún Governance School, which strengthens collective leadership, and the institutional support of the Awajún Indigenous Regional Federation of the Alto Mayo, these women have broken down historical gender barriers to

Natural Dyeing of Textiles of the Yanesha Indigenous People in Peru

In the Oxapampa-Asháninka-Yanesha Biosphere Reserve (BIOAY), located in central Peru, the Yanesha people preserve an ancestral tradition: natural dyeing of textiles.This practice, transmitted across generations, is based on the use of natural resources such as turmeric, achiote, matico leaves, castor leaves, leaves of the Yanesha tree Yetsñor, onion skins, coffee husks, as well as flowers and bark from trees such as pallón and cedar, among other locally used species in traditional dyeing practices.These resources allow the creation of a wide range of natural colors —including yellow, red, brown, and purple tones— through techniques such as cold dyeing, boiling, and tie-dye, combined with the use of natural fixatives.Beyond its technical dimension, this practice reflects a worldview based on respect for nature, sustainability, and a spiritual connection with the environment.Despite current challenges such as migration, climate change, and the loss of cultural practices, Yanesha natural dyeing remains active th

Traditional textile knowledge of native cotton in Pómac III, Lambayeque, Peru

The traditional textile knowledge of native cotton in Pómac III constitutes a living cultural practice linked to the artisanal identity of Lambayeque, Peru. This practice encompasses the knowledge, preparation, and transformation of native cotton into textile pieces crafted using artisanal techniques transmitted primarily through experience, observation, and collective work. The practice is promoted by master artisan Betty Zapata Gonzales, a native of the hamlet of Pómac III, who has over 16 years of experience in the craft. Her work is carried out through the Fibras Nativas (Native Fibers) workshop, a space that promotes the use of native cotton, the creation of textile products with cultural identity, and the participation of women artisans from Pómac and other districts of Lambayeque. Textile knowledge includes fiber selection, material preparation, spinning, weaving, sewing, artisanal finishing, and the design of pieces inspired by Lambayeque's cultural memory. This practice not only produces textile obje

Traditional Filigree Technique of Catacaos, Peru

The traditional filigree technique of Catacaos is an ancestral jewelry-making practice from northern Peru. It consists of shaping and weaving fine threads of precious metals, typically silver or gold, into intricate decorative designs.This craft is transmitted across generations and represents an important element of cultural identity in Catacaos. However, it is currently at risk due to low economic valuation and decreasing interest among younger generations.Efforts are being developed to support its preservation through training, promotion, and access to new markets.

La grandeza del Nogal

Gerald Valdez, a 49-year-old artisan, was born in the district of Tingo, located in the Amazonas region, an area that hosts one of Peru’s most important cultural heritage landmarks: the Kuélap Fortress. His work is deeply connected to the natural environment, particularly to walnut tree ecosystems, which have shaped both his personal and professional trajectory since an early age. In the productive sphere, he specializes in the transformation of walnut seeds, a resource that was previously undervalued and considered waste. Through an approach grounded in circular economy principles and environmental sustainability, he has successfully revalorized this material, transforming it into artisanal pieces of high aesthetic and cultural value. This process not only contributes to waste reduction but also promotes the responsible use of natural resources. Furthermore, he carries out significant educational and community outreach work by delivering workshops and lectures in rural schools. Through these initiatives, he

"Silvia Condori Mamani: Ayarachi Textile Heritage – From Alpaca to Loom in the High Andes of Puno, Peru"

This 58-second video presents the living heritage of Silvia Condori Mamani, a master weaver and cultural transmitter from the Ayarachi people in the high-Andean community of Paratia, Lampa – Puno, Peru. In her own land, at over 3,800 meters above sea level, we see her ancestral environment: the alpacas grazing on the puna, whose fine fiber is the raw material for her art. The video captures key moments of her traditional textile system: hand-spinning with the pushka (drop spindle), natural dyeing with Andean herbs (cochineal, muña, chilca), and the weaving of intricate designs on the telar de cintura (backstrap loom) and the ancient four-stake loom. Silvia is also seen teaching young women and elders, ensuring the transmission of this endangered ICH. The final frames show her award-winning textiles, including those that earned her the third prize at the Iberoamerican Weaving and Basketry Award in Cuenca, Ecuador (2024). This video is part of the documentation and promotion efforts led by Lic. Wilson Mamani Vi

Textile System of the Ayarachi Culture: Natural Dyeing, Hand-Spinning (Pushka) and Four-Post Loom Weaving in Paratia, Lampa, Puno

The traditional textile system of the Ayarachi culture in the Paratia community, Lampa, Puno (Peru), is a living heritage passed down over generations. It encompasses the entire production cycle of camelid fiber (alpaca), from selection and hand-washing, to natural dyeing with Andean plants (cochineal, muña, chilca, qolle), hand-spinning with the pushka or drop spindle (an ancestral technique in danger of disappearing), and weaving on various types of looms: telar de cintura (backstrap loom), pedal loom, and the most emblematic, the four-stake loom, used for making large pieces and utilitarian items with unique Ayarachi designs. This system is distinguished by its profound relationship with the Aymara and Quechua cosmovision, as the designs represent symbolic elements of the high-Andean culture. Silvia Condori Mamani, a "Maestra Regional de la Artesanía Puneña" and winner of the "Premio Nacional a la Mujer Artesana 2021" (MINCETUR), is one of the main transmitters of this ICH, having trained hundreds of women

Historical Memory as Intangible Cultural Heritage: Safeguarding Memory for Non-Repetition in Colombia

The National Center for Historical Memory (CNMH) promotes the safeguarding of intangible cultural heritage through the recognition of the historical memory of Colombia’s armed conflict as a living cultural practice and as intangible heritage in itself. This memory is not only a record of past events, but a collective and evolving heritage created and transmitted by victims and communities through narratives, rituals, artistic expressions, and everyday cultural practices. As such, it must be actively incorporated into Colombia’s cultural fabric and collective consciousness to prevent its erasure and contribute to non-repetition.At the same time, the CNMH recognizes that the armed conflict has placed ancestral cultural practices at risk—particularly among Indigenous, Afro-descendant, and campesino communities—due to forced displacement, massacres, and enforced disappearance. These practices are not separate from memory; they are the very means through which memory is created, expressed, and transmitted. In Colo

KNOWLEDGE AND WEAVING TECHNIQUES OF THE AYACUCHO TAPESTRY

The tapestry tradition of Ayacucho is one of the most ancient and sophisticated in the Americas. The Wari (600–1100 CE) were the strongest pre-Inca society and first true state in Peru. From their base in Ayacucho, they were renowned for their complex tapestries and standardized weaving throughout their domain.The history of Andean textiles dates back more than 4,000 years. Long before the rise of the Inca civilization, ancient cultures in the Andes had already developed sophisticated weaving traditions.Ayacucho is noted for its tapestries characterized by a creative combination of pre-Hispanic and contemporary Western influences. Inspired by the recovery of ancient technology and Wari cultural themes.

Cultural Heritage of Catacaos: The Straw Hat, a Living Tradition that Weaves the Identity of Northern Peru

The woven straw hat from Catacaos, a district located in the Piura region in northern Peru, is one of the most outstanding expressions of Peru’s intangible cultural heritage. Its craftsmanship, passed down from generation to generation within Catacaos families, represents a highly specialized technical knowledge that no industrial process has been able to replicate faithfully. Fine weaving, the most complex form of this tradition, can require weeks of continuous work to produce a single piece, highlighting the value of the human time invested in its creation.The history of this hat is deeply rooted in the collective identity of Catacaos. Since the early years of the Spanish Conquest, the community gradually developed a hat-making culture that eventually became the backbone of local commerce. Family workshops, although independent from one another, formed a production and marketing network that shaped the social and economic life of the town. This tradition allowed Catacaos to extend its presence beyond region

Bëtsknaté, known as The Great Day or Carnival of Forgiveness

For the Kamëntsá people, Bëtsknaté is the Great Day, a moment in which the most significant expressions of their tradition converge and through which they are collectively identified. The celebration begins with preparatory practices such as Uacjnayte (offerings to the deceased), Uastajuayan (the placement of food as offerings for the deceased), and Uatsembon (the oral offering of food to the deceased). These practices culminate on the day of the celebration, held annually on the Monday preceding Ash Wednesday, and are carried out in remembrance of the teachings transmitted by ancestors, relatives, elders, friends and community members.Bëtsknaté is celebrated once a year as a moment of collective memory and intergenerational transmission, reaffirming the continuity of knowledge, values and social practices inherited from the ancestors. It constitutes a central mechanism through which the Kamëntsá people maintain the vitality and viability of their Intangible Cultural Heritage.This traditional celebration bri

The ‘Diablicos de Túcume’ dance, a Cultural Heritage of Peru

The “Diablicos de Túcume” dance is a living expression of Peru's Intangible Cultural Heritage, representing the history, faith, and identity of its people. My work as a dancer, General Foreman, and master mask maker has focused on safeguarding this tradition through free instruction for children and young people, the transmission of ancestral knowledge, and the creation of masks using traditional tinsmithing techniques.The images presented reflect years of continuous work in the community: workshops, learning processes, the participation of new generations, and cultural activities that keep this expression alive.This effort stems from a deep conviction: that heritage is protected by teaching it, sharing it, and making it part of people's lives.Over time, this work has allowed us to train new generations who continue the cultural practice today, some even leading their own groups. Currently, I continue to develop free workshops, especially in the most remote rural areas, so that more children and young people

MANTA BLANCA PATRIMONIO CULTURAL DE LA NACION

La Manta Blanca de Tambogán ha sido considerada Patrimonio Cultural de la Nación debido a su significativo valor histórico, cultural y social, constituyéndose en una expresión representativa de la identidad de las comunidades del distrito de Tambogán, en la región Huánuco.Esta manifestación textil destaca por la preservación de técnicas tradicionales de tejido en telar de cintura, transmitidas de generación en generación, las cuales reflejan conocimientos ancestrales vinculados al uso de fibras, procesos de hilado, teñido natural y confección artesanal. Dichos saberes constituyen un legado cultural vivo que fortalece la continuidad de las prácticas tradicionales en el tiempo.De igual manera, la declaratoria se alinea con los principios de la Convención para la Salvaguardia del Patrimonio Cultural Inmaterial de la UNESCO, ratificada por el Estado peruano, que establece la obligación de los Estados de adoptar medidas para garantizar la identificación, documentación, investigación, preservación, promoción y tran

Salvaguardia de las Mantas Blancas de Huánuco: Técnicas Ancestrales de Tejido a Mano"

"La elaboración de la Manta Blanca es una técnica textil tradicional de la región Huánuco, Perú, reconocida como Patrimonio Cultural de la Nación. Se caracteriza por el uso de algodón natural, hilado a mano y el empleo de diseños iconográficos que representan la cosmovisión local".

Cuadros Vivos (Living Pictures): Memory of Not Forgetting — Hybrid Community Inventory (Digital + Physical) with Traditional Knowledge (TK) Labels

Cuadros Vivos (Living Pictures): Memory of Not Forgetting is a long-term, community-based safeguarding system of intangible cultural heritage, developed continuously since 2016 in Galeras, Sucre (Colombia). It emerges from a sustained territorial research–creation process rooted in embodied memory, oral transmission, ritual practices, collective creation, and intergenerational knowledge systems, where heritage is lived, enacted, and transmitted through daily community life rather than institutional extraction.The process is conceived as a living heritage safeguarding architecture, where the body functions as a living archive, the territory as a cultural memory space, and community practices as systems of transmission. Memory, symbolic creation, rituality, and collective embodiment operate as mechanisms of continuity, cultural identity formation, and social cohesion, transforming lived experience into collective cultural meaning and supporting long-term peacebuilding processes in a post-conflict territorial co

IMILIKUT/IMENURU: WAYANA AND APARAI GRAPHIC ART

The graphic art of the Wayana and Aparai, indigenous peoples of northern Pará, is a traditional cultural expression marked by great material, symbolic and conceptual diversity. Their graphics, created according to their own concepts, reflect a dynamic system of knowledge transmitted orally and through daily practices. As a collective heritage, governed by specific social and political norms, this art presents historical continuity and constant recreation, adapting to cultural transformations through creative processes of updating and resignification, which guarantees its contemporaneity and identity relevance.Like all cultural elements, the graphic art of the Wayana and Aparai is subject to internal and external influences, which alter its formal and conceptual aspects. These changes are also reflected in social practices that can currently affect the contexts of production and, above all, the transmission of this art to the younger generation. On the other hand, it is worth noting that the graphic systems of

Kusiwa Art: Body Painting and Graphic Art of the Wajãpi People of Amapá in Brazil

This is a system of representation—a graphic language of the Wajãpi people of Amapá—that synthesizes their way of understanding, conceiving, and acting upon the universe. The kusiwa graphic system operates as a catalyst for the expression of knowledge and practices that encompass social relationships, religious beliefs, technologies, and aesthetic and moral values. The exceptional value of this form of expression lies in its ability to condense, transmit, and renew—all through the creativity of the artists and storytellers—every unique and element of the Wajãpi way of thinking and being in the world. The kusiwa language is a form of expression that complements the knowledge passed down orally from one generation to the next and shared among all members of the group. This knowledge is mainly found in oral narratives that this Indigenous group—now consisting of about 580 individuals—continues to pass on to their children. These stories explain how colors emerged, how the patterns in the designs came to be, and

Las Tejedoras de Mampujan: A story of resilience

The Tejedoras de Mampuján (Weavers of Mampuján) emerged in the early 2000s as a collective of Afro-Colombian women survivors from the rural community of Mampuján, located in the Montes de María region of northern Colombia. On March 10, 2000, over 200 families were forcibly displaced following a brutal paramilitary incursion, marking a profound rupture in the community’s social fabric.In the aftermath, these women transformed their trauma into a process of collective healing and cultural preservation. By 2004, they began utilizing the ancestral art of sewing as a means to transmit oral histories, cultural values, and communal memories. Through participatory workshops and intergenerational training, they established a pedagogical model that integrates traditional sewing techniques with storytelling, fostering resilience and empowerment within the community. The group’s efforts have not only safeguarded intangible cultural heritage but have also gained national and international recognition. In 2015, they were a

Safeguarding Afro-Pacific Intangible Cultural Heritage in Colombia: A Community-Led Model by Marimbea

- Marimba de chonta music and traditional chants (Bunde, Bambuco Viejo, Alabados, Juga, Rumba, Agua, among others)- Rituals and dance forms linked to music- Oral traditions (décima, storytelling)- Culinary knowledge (viche, traditional recepies)- Instrument-making and crafts (marimba de chonta, guasás, cununos, bombos)Marimbea’s approach centers cultural identity as a vehicle for dignity, peacebuilding, and economic inclusion. Its work connects intergenerational wisdom with innovative practices, supporting communities to safeguard their heritage while creating opportunities for sustainable development. Over the past decade, Marimbea has led more than 120 immersive cultural experiences in Colombia and eight other countries, reaching over 1,000 participants and directly benefiting over 400 people in rural and urban Afro-Colombian communities. These experiences include community-led cultural tourism circuits, educational workshops, interactive concerts, artistic residencies, virtual festivals, performances, and

Colombian Intangible Cultural Heritage “WORDS FROM OUR LAND: WEAVING THOUGHT AND MEMORY FROM OUR ROOTS”

“Words from Our Land” is a project that has been continuously developed since 2013, with over 10 years of uninterrupted work. Its main goal is to create educational, research, and social-cultural participation spaces around the Intangible Cultural Heritage (ICH) of Colombian communities. It also aims to revitalize native languages and bring visibility to the ancestral knowledge of Indigenous, Afro-Colombian, and Roma peoples, addressing the loss and degradation of these unique cultural elements that have historically been marginalized.Throughout its evolution, the project has included workshops, community work, conferences, research processes, promotion of oral traditions, food sovereignty practices, and territorial care, establishing an intercultural and transformative intervention model. Its most recent edition was held in September 2024.Key Achievements:Conferences and events around ICH: Numerous educational events with national and international guests have been held, promoting the exchange of ancestral k

Colombian Intangible Cultural Heritage and Peace: Museum Bodies for Empathy

This inventory documents a journey through Colombia’s most remote territories and silenced communities, exploring the role of intangible cultural heritage (ICH) in fostering peace, collective memory, and social cohesion. The project engages diverse cultural expressions, including bodily movement, music, Cuadros Vivos (Living Pictures), weaving, and traditional games, as tools for mutual understanding, empathy, and reconciliation.By facilitating cultural exchanges between territories and communities, the initiative nurtures awareness of Colombia’s rich cultural mosaic. Through the transmission of songs, movements, stories, and emotions, participants co-create collective narratives, shaping a polyphonic chorus that reimagines and transforms history.The creative process unfolds in three key stages: Exploring Embodied Memories – Recognizing the body as a living archive of personal and collective experiences.Mapping Social Connections – Identifying shared gestures and interactions that reflect cultural heritage an

Carnaval de Mamatoco

Históricamente, los primeros carnavales en el Caribe se remontan al siglo XVI en la zona de Mamatoco, Santa Marta, donde convergieron colonizadores, indígenas y más tarde poblaciones afrodescendientes. Esta mezcla cultural tomó forma bajo la influencia de la Iglesia Católica, evidenciada por la construcción de la primera iglesia de Hispanoamérica en Mamatoco. Sin embargo, con el tiempo, esto llevó gradualmente a que la expresión carnavalesca se ocultara dentro del ritual religioso. Mamatoco es quizás el único lugar en el mundo donde se celebran vibrantes precarnavales, aunque paradójicamente su carnaval permanece oculto, representando el origen de los carnavales caribeños en Colombia y la identidad de las mujeres y hombres caribeños.Este fenómeno agrega una capa adicional de complejidad y autenticidad a las celebraciones populares y comunitarias en toda la cuenca del Caribe, enfatizando la riqueza cultural y la singularidad de las expresiones carnavalescas hispanoamericanas, que tienen una amplia relación con

Festive Cycle around the devotion and cult of Saint John the Baptist

It is an element of the Intangible Cultural Heritage deeply rooted in more than 150 communities in the northern and central coastal region of the country, in most cases located in front of the Caribbean Sea, at the foot of the Coastal Mountains. These communities are located mainly in the states of Aragua, Carabobo, Miranda, Vargas (current state of La Guaira) and Yaracuy, and include different localities, both rural and urban, of Afro-descendant origin.

Tango

Tango, originating from the working-class neighborhoods of Buenos Aires and Montevideo in the late 19th century, carries multiple meanings and holds significant importance:Cultural expression: Tango serves as a powerful cultural expression of the Argentine and Uruguayan people, reflecting their history, struggles, and emotions. It embodies the fusion of various cultural elements, including African, European, and indigenous influences, making it a symbol of cultural diversity and identity.Social significance: Tango has historically been a dance of the people, originating in marginalized communities and providing a form of emotional expression and connection. It has served as a way to break social barriers and create a sense of community among people from diverse backgrounds.Artistic form: Tango is not just a dance but also a musical genre, comprising intricate rhythms, melodies, and poetic lyrics. It has become a celebrated art form globally, appreciated for its passionate and evocative expression, both in its

The Art of Brazilian Capoeira Circle

Baile Chino, the dance and dreams of Chile

Vallenatos Music of the Greater Magdalena

Tango