Bibliographic citations
Del, N., (2020). En defensa del Arte Popular. La trayectoria del coleccionismo en el Museo de Artes y Tradiciones Populares, IRA-PUCP, 1979- 2014 [Tesis, Pontificia Universidad Católica del Perú]. http://hdl.handle.net/20.500.12404/17716
Del, N., En defensa del Arte Popular. La trayectoria del coleccionismo en el Museo de Artes y Tradiciones Populares, IRA-PUCP, 1979- 2014 [Tesis]. PE: Pontificia Universidad Católica del Perú; 2020. http://hdl.handle.net/20.500.12404/17716
@mastersthesis{renati/16563,
title = "En defensa del Arte Popular. La trayectoria del coleccionismo en el Museo de Artes y Tradiciones Populares, IRA-PUCP, 1979- 2014",
author = "Del Aguila Taipe, Natalia Jaira",
publisher = "Pontificia Universidad Católica del Perú",
year = "2020"
}
The Museum of Popular Art (1979) of the Pontificia Universidad Catolica del Peru’s Riva- Agüero Institute (IRA-PUCP), currently known as Museum of Traditions and Popular Art (MATP) arose from a special context: the academic-artistic debates that resulted from the recognition of Joaquin Lopez Antay as a winner of Peru’s National Art Prize in December 1975. The IRA not only defended the reasons for the designation of the National Art Prize but also took a stand with intellectuals who recognized Peruvian popular art as a “truthful” manifestation of Peru’s art. The aim of this dissertation is to understand the history and the process of formation of the university Museum of Traditions and Popular Art by analyzing the collecting practice of folk art during the 20th century. These practices have moved from the collection of objects, in an old ethnographic style, to an effective participation of the artists themselves. The MATP’s case shows us the development of a specific type of practice for the conformation of Peruvian popular art collections based on collaborative work among promoter- curator/ collector / artist. Institutions such as the MATP have allowed the visibility, internationalization, and diffusion of Peruvian folk art, in a way that gives presence and voice to those actors who were excluded from the Lima’s artistic networks during the 20th century. Thus, the Museum fulfills a mission, promoted by the IRA, which involves the citizens’ participation.
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