Smithsonian Sun

Colorful symbols in praise of the Festival

Decorative tinwork is well known in Mexico but less so in Peru. Jang Ludmir Araujo Ayala stressed this point frequently as he demonstrated his techniques during the Perú: Pachamama program. Ayala learned to work in metal from his father, who had him start by making utilitarian objects such as buckets and candelabras. He eventually incorporated decorative motifs from the wood and plaster retablos—storytelling shrines—made by his mother. In so doing, he creatively joined together two distinct craft forms to make a third that is rich in three-dimensional decoration and color.

Ayala worked on this decorative plaque throughout the Festival, intending to present it to program curator Olivia Cadaval on the last day. Each design took on special meaning for him, with the Smithsonian sunburst logo standing in for his time in Washington, D.C. The spread-winged birds at the top and bottom are white doves of peace tying together our cultures and countries, the hearts symbolize the warm feelings he developed for the Festival, and the flowers symbolize the beauty of summertime in his homeland, Peru—perhaps denoting a bit of longing to return home.

Ayala said he was especially moved by the interest shown in his work by other members of the Peruvian delegation. This kind of cross-country exposure has been a frequent side benefit of many Festivals—where participants become steeped in the diversity of their own homelands. The excitement, interest, and pride engendered by these contacts have led to more than one Folklife Festival being restaged in the home country.