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Arequipa,
333 Puente Bolognesi Street

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Inspiration 
-The inspiration came mainly

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from a desire to promote
the visual arts, music, drama,

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all types of artistic expression
in the city.

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This is what led
to the birth of

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Tambo de Bronce.

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-It has been here
for three years.

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We hold digital photography workshops,

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I teach the music workshop,
workshops for percussion,

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for different types
of instruments.

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We also hold concerts,
exhibitions, etc.

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-Our principles, which we've
held from the start

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and which we want
to maintain,

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are self management
and alternative education.

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Tambo de Bronce
is independent

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but it's open to any proposals,
which can be put to us

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and if they're for the good
of the community

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and society, then they are
very welcome.

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History

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-Tambos have existed
since early times,

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since the times of the Incas,
or even earlier.

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They are places where travellers

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stop to rest after their journey.
That's a tambo.

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There was one here; all
around here were tambos.

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That's why it's called
Tambo de Bronce.

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It started off as
a sculptor's workshop.

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Then we came with a friend
to see it

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and there were sculptures.
The place was abandoned.

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It hadn't been used
for a long time.

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Then they let us have
the place.

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As the rent is so cheap,

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it's affordable for us
to self-manage it.

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Then the idea occurred to us,
three years ago,

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that we should use it to hold
workshops and concerts, etc.

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Three years ago
there was nothing.

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-We often want to do
new projects.

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We have asked for
a children's home,

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and a gallery
to hold exhibitions,

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and often, because of
the bureaucracy,

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the process is long.

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Just like the initiative
to open this venue

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was delayed by bureaucracy.

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If you have a work of art,
a project

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you can come and
exhibit it here.

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The Audience
Our stated aim was to work

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mainly with children,
young people and teenagers.

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But we also see
adults and older people,

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and children come 
to see what we offer,

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and we see their interest. 


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We involve all sorts of people,
because of their interest,

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their love and their passion
for something,

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whether it's photography,
painting or music.

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They're all here,
which is a good thing.

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Organisation

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Now we're working on
becoming an association.

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That will give us the tools
we're looking for

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to obtain grants
for all sorts of things

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that we need in order to 
expand the project further.

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Decisions are always taken
by all of us together.

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We discuss things a lot.

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Communication

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The Tambo's
communication networks

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are mostly virtual ones,
which are faster

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and we also network through
other cultural centres

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and television, as we have
slots in the programmes

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that are made in Arequipa.

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What I am slightly critical of
is that

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we need more mass
communication media,

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like radios, to have
a real impact

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but in our work it's difficult.

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To secure truly mass media
is very difficult

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as it's expensive; it's like
a closed door to us.

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-We work with a few
other cultural centres

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that have opened
over the last few years.

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One is called Pucara Bulls,

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and we mostly work with them
on promotion.

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They promote their events
through our channels,

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and we promote
our events through theirs.

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As we and they have
different databases,

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in this way we can
reach more people.

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Sustainability

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Speaking of the Tambo's
sustainability,

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at the moment it is
self sustaining.

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It has been self managed
since it opened, until now.

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-Sometimes we do work
for events;

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There's a part of the Tambo
that makes

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stretched canvases
for events,

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and part of the income earned
goes to the Tambo.

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We put on shows
every Thursday

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that we call the 
Tambo Sessions.

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We also sell things,
like food and drinks. 


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All of this, and the fact that
this place is so cheap to rent,

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make it possible for us
to continue working.

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If, for some reason,
something happens,

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and we need money,
we put on an event.

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Integration

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The idea was just to
create a venue

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for small audiences,
but the moment that

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people see that it's something
different in the city,

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and that there's
nothing like it,

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they decide that
Tambo de Bronce

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is one of their favourite
cultural venues.

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We always have plenty
of activities.

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It's the only cultural venue
to stay open

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for three years in Arequipa;
it has not closed,

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and continues to promote
new alternatives

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and culture in general.

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-We've worked with schools,
and brought children here.

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-We work with
cultural groups.

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There are independent
festivals organised

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in the city that often ask us
to work with them.

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We are prepared to help with

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the logistical side,
the production,

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the work that is our
area of expertise.

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Culture in Arequipa
There are fewer and fewer

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venues open
to the people of the city.

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There are venues
possibly, which

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you can access if you have
an invitation,

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or you are a member,
or you can pay.

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We think art should be
among the people,

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in the neighbourhoods,
where it belongs

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and where it's most needed.

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Arequipa's cultural centres,
one by one,

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have been closing down.

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We used to have one
dedicated to theatre,

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called La Comuna;
it closed two years ago,

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due to problems with the local
council, that sort of thing.

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It's illogical that
the local councils,

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instead of promoting us,
and realising

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'They're doing our work, so

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give them the permits
and support they need',

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they shut us down;
it's illogical.

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They won't do it, and they
won't let us do it.

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-There was a story
in the newspaper

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that the council had
one and a half million dollars

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as a budget for culture

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and they returned it
to central govenrment

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in Lima because they didn't
know how to use it.

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The same officials
in charge of culture

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have been there for 20 years.

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They just rotate posts
so that it looks like

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they're not in the same post
for 20 years.

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-Sadly, where culture is
concerned, it seems

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the only thing the council
sees as important is

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the festival for the Day of
Arequipa, the parades.

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Although there are other important things,

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all the money goes
to that,


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all the budget goes there,
all the logistics,

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and all the human resources.

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And the other things, 
the alternative culture,

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just have to be undertaken
by the artists themselves.

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-To be really effective in
a job like that,

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a person must be
a cultural manager,

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they need to have
studied the subject.

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They must have experience
and be an artist.

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They also need to know
what they're doing.

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But if you talk to those people,


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they know nothing about it,
so they can't make

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an informed decision on any
problem they face in their job.

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There's also the fact
that the universities

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are not interested either.

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So the public are not
trained in this either;

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it's as if in this area
everything is decaying.

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There needs to be a change
in the form of a national policy.

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Struggles

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Integration was a problem
at the start.

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This is a traditional
neighbourhood

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in which people are used
to a quiet life.

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We musicians came along,

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making a racket every day,
playing drums;

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the first problem is
being accepted.

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It's the same with
other cultural centres.

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In Lima there was a lady, who
sang in a Blues band,

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who told me that
with her centre

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the first problem, apart from
the council, was the residents,

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getting them to understand
that what we do is our job.

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It's not just a bit of fun or
something casual.

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I believe that's the first barrier

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that slowly had
to be overcome.

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We've lasted three years
and we're still going.

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The council is one endless
problem and the other

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is communication with
other cultural centres.

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Communication is lost,
I don't know

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whether through envy or
through personal inclination.

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We get dragged into it a lot.

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Perhaps if each centre
were ...

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'Your centre is for theatre,
mine is for poetry',

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we'd get on better together;

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'My centre is underground,
yous is half naturist'.

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No, we won't go down
that road,

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and there are many disputes;
it holds back progress

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and is one of the biggest tests

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we face, because the people
and the artists

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are not used
to working together.

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Instead of uniting,
they become divided,

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that is the great problem.

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-I believe another problem
is how to reach more people,

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to have better means
of communication,

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because our networks are
wide, but they don't really

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reach far enough,and for the
people we want to reach

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the social network
doesn't seem to work.

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And to make flyers and so on

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you have to
invest money,

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but it doesn't guarantee
many people.

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We need access to radios,

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or mass communication,
or programmes

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that have a mass audience
at peak viewing times.

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Our work has taught us

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that the street is the most
immediate

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and is where the large-scale
action happens.

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Put on concerts and festivals
in the street,

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because that is where
democracy is.

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In the street people walk,
people of all social levels.

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So it's the best option,
especially when

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the communication media
don't offer any alternative,

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The street is the last resort,
so that the person

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walking along there
sees something new. 


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-It's also a great weakness
that so far, no business

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has become involved
with Tambo de Bronce.

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The interest is there;

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friends have come from
the brewery,

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from large companies,
from the brickworks,

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but they don't really
believe that art is necessary

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or they don't believe it so far.
It's illogical.

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They say, 'If I give this money
to your cultural centre,

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so that you can work with
these young people,

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no-one will see it, so it's
better if I pay for

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a football pitch, although
there are many already,

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or another monument,
and then

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people say, ''Oh thank you,
you've helped me!'' '

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It's a big problem, because
we need money, grants.

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-Now there is a Law of
Cultural Patronage,

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but we don't have the tools
to secure patronage.

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So we've started using
the association

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as a means to obtain that too.

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And the major problem is that
the PR director

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of a given company operates
as if 'You are a friend,

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so I do you a favour,' and there's never a contest

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for projects to
compete for grants

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in places such as Arequipa.

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Education in art and music
is very poor.

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In the biggest universities
here, there are no faculties,

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for example, of philosophy,
music or art.

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There are only faculties
of studies that generate

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immediate income such as
engineering, law, medicine.

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This puts us, in Arequipa,
in a situation where

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we are penned in,
because the universities

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don't produce people
who can appreciate culture.

249
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So the task is left to us,
to show them

250
00:11:41,026 --> 00:11:42,414
that there is an alternative.

251
00:11:42,414 --> 00:11:45,324
At the Tambo we've lasted
a long time

252
00:11:45,324 --> 00:11:47,324
but really we do
everything ourselves.

253
00:11:47,334 --> 00:11:49,534
On one hand that a
bad thing, and we suffer,

254
00:11:49,534 --> 00:11:51,638
but we've managed it alone
so far

255
00:11:51,638 --> 00:11:54,266
but what we have learnt
from being alone

256
00:11:54,266 --> 00:11:57,552
is that we can do it, so with
support we could do

257
00:11:57,573 --> 00:12:00,353
a thousand things,
we could do wonders.

258
00:12:00,353 --> 00:12:02,133
If we had support and funding

259
00:12:02,133 --> 00:12:03,843
we'd know how to use them,
as we've

260
00:12:03,843 --> 00:12:06,038
managed with nothing, and
still done things.

261
00:12:06,039 --> 00:12:07,991
All this has given us
great strength.

262
00:12:07,991 --> 00:12:10,531
Having the chance to learn
more and more,

263
00:12:10,531 --> 00:12:14,221
you survive in permanently
difficult conditions,

264
00:12:14,237 --> 00:12:16,657
and it makes you strong,
so that you survive,

265
00:12:16,657 --> 00:12:18,647
you become like this, you
protect yourself,

266
00:12:18,657 --> 00:12:20,217
and you can do it because
you know how.

267
00:12:20,237 --> 00:12:22,077
-I'm not from Arequipa,
I'm from a place

268
00:12:22,077 --> 00:12:25,578
that mainly makes its living
from fishing and mining,

269
00:12:25,578 --> 00:12:28,486
and I didn't have access
to a cultural centre.

270
00:12:28,486 --> 00:12:32,724
There was a municipal arts
centre; every district has one

271
00:12:32,724 --> 00:12:35,893
But when you go in, there's
just a desk and bare walls,

272
00:12:35,893 --> 00:12:37,933
and if you open up
those venues,

273
00:12:37,934 --> 00:12:39,964
you give people opportunities.

274
00:12:39,984 --> 00:12:44,544
With just one open venue
we may be influencing

275
00:12:44,564 --> 00:12:47,904
the future of at least 200
or 300 children

276
00:12:47,944 --> 00:12:49,854
and young people, with
no more than

277
00:12:49,904 --> 00:12:52,904
the interest, will and
inspiration that drive us.

278
00:12:52,924 --> 00:12:54,334
The future

279
00:12:54,334 --> 00:13:01,395
We hope to find a business
that will give us a grant,

280
00:13:01,395 --> 00:13:05,472
so that we will be free to work
with any young people,

281
00:13:05,482 --> 00:13:08,879
and most of all with children,
so that we can train them

282
00:13:08,879 --> 00:13:11,869
to continue our work when
we are no longer here.

283
00:13:11,889 --> 00:13:13,905
We want to train children
so that

284
00:13:13,925 --> 00:13:15,585
they can use what we
have taught them,

285
00:13:15,605 --> 00:13:17,775
not only in the practical
aspects of their lives,

286
00:13:17,805 --> 00:13:19,975
but also to inform
their values.

287
00:13:19,995 --> 00:13:23,935
Right now the demand from
the people who come here,

288
00:13:23,935 --> 00:13:29,455
whether as visitors, or as
exhibitors, is so great

289
00:13:29,455 --> 00:13:34,626
that we see a need
for another venue.

290
00:13:34,627 --> 00:13:36,647
A venue that can
accommodate all of this,

291
00:13:36,647 --> 00:13:41,897
as well as theatre, music,
exhibitions, a bigger place.

292
00:13:41,897 --> 00:13:42,886
Advice

293
00:13:42,896 --> 00:13:44,606
At the outset
you always have to be

294
00:13:44,616 --> 00:13:48,026
humble in your ideas
and flexible in your thinking,

295
00:13:48,046 --> 00:13:50,236
because in the end,
my idea is better

296
00:13:50,246 --> 00:13:52,766
if there are other
people involved.

297
00:13:52,776 --> 00:13:55,255
And it always enriches
the project.

298
00:13:55,255 --> 00:13:57,695
I believe we must
always be inclusive.

299
00:13:57,705 --> 00:13:59,662
-Most of all, believe
in what you are doing.

300
00:13:59,662 --> 00:14:02,772
There will always be
ups and downs, things that

301
00:14:02,772 --> 00:14:06,913
discourage us from
continuing with our work.

302
00:14:06,913 --> 00:14:09,790
The only thing to do
is to press on,

303
00:14:09,790 --> 00:14:13,308
believe in your dreams
and your desires.

304
00:14:13,318 --> 00:14:14,978
No more than that.

305
00:14:14,998 --> 00:14:17,948
Just go on,
constantly working,

306
00:14:17,958 --> 00:14:21,470
and always use the centre
as a place for production.

307
00:14:21,490 --> 00:14:24,490
Often leisure and enjoyment
distract us,

308
00:14:24,490 --> 00:14:26,370
but we must fight against that.

309
00:14:26,370 --> 00:14:28,269
It must be a place for
the production

310
00:14:28,279 --> 00:14:30,469
and dissemination of
our ideas, nothing else.

311
00:14:30,489 --> 00:14:33,209
Do it and believe in it.
That is what works.