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Centro Qosqo de Arte Nativo

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Centro Qosqo de Arte Nativo

The Centro Qosqo de Arte Nativo is the First Organization of Peru, founded in 1924, its purpose is the conservation and compilation of Music and Folk Dances from Cusco and Peru. Currently, he has in his repertoire 50 dances, a hundred melodies from Cusco, a large collection of traditional costumes and musical instruments. Its cast is made up of 70 artists and has participated in national and international festivals such as: Argentina, Bolivia, Colombia, Chile, Ecuador, the United States, Canada and France. Also Produces and sells videos and audio discs based on their presentations. The Qosqo Center presents daily folk music and dance shows from various provinces, districts and communities of Cusco, as well as a museum of typical costumes and musical instruments. It can be seen from carnival dances, rituals, warriors, agricultural, accompanied with musical moments, we have for example the Tinta Carnival, Sonconacuy, Cusqueño Carnival, Czech Dance, Catcca Carnival, RuniQuechunacuy, Qoyacha Dance, etc., where you can appreciate the colorful, costumes, rhythm and how to express our feelings through dance and music.


Its object is the compilation and conservation of music and folk dances from the department of Cusco. He currently maintains a store located on Avenida El Sol where he performs daily music and dance presentations.


History of the Centro Qosqo de Arte Nativo

From the origins of the Centro Qosqo de Arte Nativo (CQAN), the following version given by its co-founders transcended: On the triumphant return of the Peruvian Mission of Inkaiko Art in January 1924, several of its members gathered in a well-known place in Bohemia " La Rotonda ”located on Avenida street, they agreed to found an institution that promoted the native art of Cusco. The first meeting that these visionary artists had was held at the house of Don Horacio Fortón (Nueva Baja) and there they founded CQAN informally. Then several sessions followed until its formal foundation in the first week of November 1924. Its first president was Dr. Luis A. Pardo, who held the post until 1929. The official recognition for the management of Dr. Víctor J. Guevara, was found Supreme Resolution No. 149 of November 7, 1933. Although according to some founding partners, its foundation was on April 22, 1924.


Two Tours of Transcendence


1958 tour

One of the Centro Qosqo de Arte Nativo tours to Lima, more significant than the previous ones, was held in 1958 with the presidency of the Raúl Montesinos Espejo engineer. Artistic presentation that received excellent criticism from intellectuals and journalists from the capital. The following is the commentary on that artistic triumph of the Qosqo Center for Native Art:


Like decades ago, significantly, the historian Luis E. Valcárcel appears on the artistic scene, who presents this new artistic embassy that continues with the cultural line of the Peruvian Mission of Art lnkaiko that was chaired by the historian in 1921 -1924. In the Municipal Theater of Lima (which for the first time opened its doors to native art), Luis Ë. Valcárcel on August 8 offers heartfelt preliminary phrases to the development of the program, which carried out in the first part choreographies accompanied by a chamber orchestra made up of eighteen professors of the National Symphony Orchestra, with the direction of Roberto Ojeda and the interpretation of their compositions Wifala , The Weavers Planting, Dance of the sling; Qosqo Llaqta and Atawallpa by Juan de Dios Aguirre; Upon Awakening, Three Reasons from Cusco of Baltazar Zegarra. In the second part, a typical orchestra complemented the program with traditional dances. The harp of Manuel Pillco, the quenas of Evaristo and Camilo Tupa the violin of Roberto Amaut, the voices of Teófilo and Toribio Cárdenas, and the pampa piano of Ricardo Castro Pinto, conductor of that typical orchestra. The members of the chamber orchestra were also members Reynaldo Pillco, Carmela Gonzá1es Gamarra and José Aguirre.


A chair of folk art

The presentation of the Centro Qosqo de Arte Nativo on its first night of successful sealing, was - as already noted - by Luis E. Valcarcel, once again immersed in the musical choreographic art of Cusco. That presence, of the visionary historian, must be highlighted, as another fruitful achievement of that indigenous movement that he led from his youth, along with intellectuals aligned by that "cultural route of Peru". This artistic event of the Qosqo Center in the Municipal Theater in l958, the year of the publication of "Los Ríos Profundos" by Jose María Arguedas, which shook the intellectual and political elite of Lima, Creole and centralist, was a powerful bastion for the Andean migration that , breaking racist barriers, he was consolidating his conquest of the Lima capital: an Andean avatar, as Luis E. Valcárcel had prophesied in "Tempest in the Andes". The vernacular art exhibition of Cusco at the Municipal, was not only within that enclosure but, through newspapers and magazines, it radiated its message to the people from the Andes who were beginning to conquer Lima.


Other tours

After that milestone in Lima, the Centro Qosqo de Arte Nativo made other tours, one of them important to the city of Concepción (Chile). On that occasion, the Qosqo Center received tributes from the flolklorista Violeta Parra and the “Concumen” Ensemble with Chilean music and dances. In 1959, the CQAN invited by the First American Inter-Parliamentary Conference, appeared again at the Municipal Theater of Lima, an event in which the National Symphony Orchestra and the Peruvian Ballet participated.


On that occasion, the Centro Qosqo de Arte Nativo offered 18 presentations at the Teatro Segura. In addition, other functions for various faculties of the University of San Marcos. All a hectic artistic performance, full of effort and morally rewarded for the reception of the public and specialized critics.


Other tours until 1973 and specific information on the new premises of the Qosqo Center for Native Art.


Again with the presidency of Víctor Chambi, in July 1962 the CQAN made a long tour of the Argentine Republic; the invitation was extended by the Song and Folklore Festival of Santiago del Estero; it was also performed in Tucumán, Rio Hondo, Añatuya, La Banda, and, incidentally, at the Municipal Theater of La Paz (Bolivia). On one of these tours, in August 1966 the Music Department recorded in Lima the first LP album by the Qosqo Center entitled "Qosqo Taquiyninchis", at the Odeón record label (IEMPSA). During the presidency of Adolfo Núñez del Prado Castro, another important tour was that of April 1966 in the city of Huancayo, at the invitation of the National Folklore Festival of that town. The choreographic-musical ensemble was presented at the Teatro Real; The Symphonic Band of the Police School participated in the second part of the program, directed by the teacher Armando Guevara Ochoa, with a repertoire of the "Big Four of Cusqueña Music". In 1968 also with the presidency of Adolfo Núñez del Prado, at the invitation of the Trujillo Lions Club, CQAN performed in that city, as well as in the Municipal Theater of Lima; On this occasion, he included in his program the custom print "Cruz Velacuy", released in 1963. The tour extended to Huaral, Huacho and Chiclayo. In 1969, with the presidency of the Anthrop. Luis Huayhuaca Villasante, participated in the “Las Flores y Frutas” International Festival in Ambato (Ecuador), where he obtained the “Capulí de Oro” trophy. In September 1970, under the chairmanship of Dr. Diómenes Oroz, the Qosqo Center for Native Art traveled to Lima to participate with different folk groups in the country, in the Great People's Concentration. Also with the presidency of Dr. Oroz, in 1971 he attended the First International Festival of Arequipa (FESTIDANZA 71), on which occasion he obtained the "Golden Leaf" trophy. In that same month he traveled to Ayacucho and in 1973 he had presentations at the Municipal Theater, the Segura Theater and the Amauta Coliseum in Lima.


As for the construction of the premises of the Centro Qosqo de Arte Nativo at Avenue Sol N ° 872, the documentation that exists in the institution is extensive, so it is no longer necessary to detail it. But yes, it is important to highlight the memory of the partners who participated directly in the hustle and bustle, to make the dream of their own place possible. Construction begins in March 1972. Before, in 1967 the deputy Lucio Muñiz Flores managed a contribution of S /. 400,000.00 and in 1970 the Ministry of Industry and Commerce donated S /. 50,000.00 for said construction. In 1971 the CRYF (SINAMOS) granted a mortgage loan of S /. 3,500,000.00 and, later, in a philanthropic attitude of the General Luis Uzátegui Arce, president of the military government institution SINAMOS and the president of the Banco de la Nación's board, Jorge Víale Solari, the debt was forgiven. For this reason, in a remunerative gesture, the Qosqo Native Art Center declared them Permanent Honorary Members. All partners collaborated with donations of cement and brick, even with seats in certain cases.


Custom Pictures and Prints

The traditional prints are stagings with music and dances, like the paintings but more extensive. The first costumbrista print prepared by the Qosqo Center was “Cruz Velacuy”, with choreography and staging by Lizardo Pérez Araníbar and musical arrangement by Roberto Ojeda Campana.


Released in the theater of the National College of Sciences in 1963 and highly required for tours and other Centro Qosqo de Arte Nativo presentations. In 1971 the indigenous stamp Yanan Thacuy (Indigenous Marriage), captured by Lizardo Pérez A., premiered and filmed in Choqo was presented. Regarding the latter, it is worth remembering the presence of the institution in different films and documentaries.

Another costumbrista print of the Qosqo Center is "La Feria de Pisac", premiered in 1974 at the institution's premises. Script, arrangement of traditional music, as well as unpublished compositions by Roberto Ojeda such as "Linda Cusqueñita" with lyrics by Germán Baush and "Esos tus ojitos".



The Centro Qosqo de Arte Nativo offers presentations of music and folk dances from Monday to Sunday, including holidays from 18:30 to 20:15 hrs. in its modern theater located on Avenida Sol Nº 872 in Cusco, where you can also admire its museum of typical costumes and musical instruments.


In the aforementioned schedule, the following activities are carried out:

  • Visit Museum and Cultural Video 18:30 to 19:00
  • Dance Presentation 19:00 to 20:15

Attending their presentations is de rigueur. National and foreign visitors will be pleasantly impressed and will have an everlasting memory.



It is part of the tourist ticket, and is the only place where music and dance of Cusco can be appreciated daily, which is why it has a large number of visitors, both national and foreign.

Entrance tickets can also be purchased directly at the premises of Av. El Sol 872.


Price of Tickets of Centro Qosqo de Arte Nativo


Here we detail the Price of Tickets of Centro Qosqo de Arte Nativo:


Type of Tickets of Centro Qosqo de Arte Nativo

Price of Tickets of Centro Qosqo de Arte Nativo

Foreign Adult


Foreign student


Foreign Child


National Adult


National Student


National Child



Musical repertoire

With the incorporation to the Centro Qosqo de Arte Nativo, of the brothers Hugo and Diómedes Oroz Villena in 1964 and of the Musical Ensemble “Alborada” formed by Adolfo and Luis Nuñez del Prado, Rafael Vera, Gustavo Palacios, Carlos Lencinas and the Alarcón brothers, it began, in 1967, a series of recordings in record labels in Lima and Cusco which we detail below.

  • Manco Qapaq (tradicional)
  • Yaraví (tradicional)
  • Valicha (Miguel Ángel Hurtado)
  • Asto Warak’a (Adolfo Núñez del Prado)
  • Esperando (Adolfo Núñez del Prado)
  • Inti Napayuikuy (tradicional)
  • Kachariy Chay Turuta (tradicional)
  • Qori Rafra (tradicional)
  • Llamichu (tradicional)
  • Graciela (Baltazar Zegarra Pezo)
  • Gentil Gaviota (tradicional)
  • Torito Pinto (tradicional)
  • Tres Motivos (Baltazar Zegarra Pezo)
  • Taqekuy (Policarpo Caballero Farfán)
  • En mi pobreza (Manuel Pilleo Cuba)
  • Saqsayhuaman (Juan de Dios Aguirre)
  • Condemayta (Policarpo Caballero Farfán)
  • P’unchayniykipi (Baltazar Zegarra Pezo)
  • Pukuy Pukuycha (tradicional)
  • Indio Cautivo (tradicional)
  • Mosoqcha Parki (tradicional)
  • María Carlota (Baltazar Zegarra Pezo)
  • Parihuana (tradicional)
  • Chujchu (tradicional)
  • Flor Andina (Roberto Ojeda Campana)
  • La Cusqueñita (Baltazar Zegarra Pezo)
  • Cruz Velakuy (Recp. CQAN)
  • Al Despertar (Baltazar Zegarra Pezo)
  • Machupijchu (Baltazar Zegarra Pezo)
  • El Picaflor (Rosendo Huirse)
  • La Cusqueñita (Roberto Ojeda Campana)
  • Palomita Blanca (Arreglo Roberto Ojeda Campana)
  • Flor Ilustre del Cusco (Gabriel Aragón)
  • Canto de las Ñust’as (Leandro Alvina Miranda)
  • Vírgenes del Sol (Jorge Bravo de Rueda)
  • Wifala (Roberto Ojeda)
  • Dolor Indio (Alejandro Vivanco)
  • El Cóndor Pasa (Daniel Alomía Robles)
  • Mi Cholita (Abel Garrido Reyes)
  • Sonqoy K’irinchasqa (Baltazar Zegarra)
  • Pajonal (Arreglo Roberto Ojeda)
  • Tristeza Andina (Abel Garrido)
  • Sentimiento Indio (Pedro Mérida G.)
  • Fue un Sueño (Baltazar Zegarra Pezo)
  • Qosqo Llaqta (Juan de Dios Aguirre)
  • Urpillay (Pablo Ojeda Vízcarra)
  • Sijlla (Recp. CQAN)
  • Saqsa (Recp. CQAN)
  • Lejos de ti – Huayno (Roberto Ojeda Campana)
  • Himno al Sol (Daniel Alomía Robles)

Choreographic Repertoire

The choreographic repertoire from 1924 to 1974 is included below, with approximate data based on Centro Qosqo de Arte Nativo documentation, Roberto Ojeda's personal archive and work titled “Danzas Folklóricas Cusqueñas”, by Lizardo Pérez Araníbar.



Dance created in the Tinta district, Canchis province - Cusco. On the occasion of the carnival party, mixed groups of dancers wearing their best costumes take to the streets. There is a waste of joy and choreographic creativity. It is danced in pairs using multicolored slings with which women punish their gallant in tacit love acceptance.



Republican testimonial dance. It caricatures the Chilean invaders in the war of 1879, called the Pacific War. It also ridicules the traffickers of justice, called tinterillos or qelqeres, due to their deceptive judicial sheds. The troupes are made up of dancers disguised as cavalry soldiers. Their movements, steps and figures show arrogance and arrogance from the invaders.



Facing the Hispanic imposition of artistic manifestations alien to the Andean reality, the dancers of the town imitate dances coming from outside but parodying and highlighting their own as a voice of protest. This contradanza has the following figures and movements: Pasacalle, Escobilleo, Trenzado or Sin’pa, Farmer or Tarpuq, Prado or Waylla, Qoyacha or Muchachuela, Wamankaq (Wamanga) or Como el Halcón and Kacharpari or Despedida.



In this dance, the people, while ridiculing the old procedures to cure malaria or tertian, grotesquely mocks the "yellow death" that devastated the valleys of Cusco in the 1920s and 1930s of the 20th century. The central character of this dance is an old man shaken by the attacks of the tertian or "malarial fever". To this supposed patient come "nurses, doctors, barchilones and curanderos'1 provided with huge syringes, irrigadotas, pillows, mirrors, bags of flour and other elements to ward off evil.



It represents the muleteers and merchants of the Majes Valley - Arequipa. The activity of these merchants is expressed in this dance. The troupes are led by the boss or boss and his partner. The others are the muleteers and the inevitable maqt’a or cholo who acts as a messenger and a jester. The Majeños are characterized by plaster paste masks, they wear wide-brimmed hats, leather jackets or coats, ponchos, riding pants, boots or leggings and spurs. The dance has three main figures: Pasacalle, Pregoneo and Júbilo. In their encounters with the authorities or notable neighbors, the sailor dance with wayno escape.



The native ideology has stereotyped in this dance the Hispanic conception regarding the evil beings that, personified in Lucifer or Luzbel, are said to dwell in hell. For the cusqueños these beings do not have the figure, structure or human trace, but of wild animals or beasts, as can be seen in their gypsum paste masks and that represent foxes, wolves, cougars, cats, pigs, wild boars, birds of rapine; their multicolored costumes are embroidered with figures of vermin, poisonous insects, vipers, bats, wasps, tarantulas. The troupes are led by the Chinese saqra or devil, the only female character with features and features of Hispanic lady. It has the following figures and movements: Pasacalle, Escobilleo, Wamanga. Balance, Temptation and Farewell.



Native societies have been and still are today the least favored by the administration of justice, especially by traffickers who, in popular slang, are called as tinterillo, qelqere or picapleitos. This situation probably led to the creation of this parody, in which these traffickers are ridiculed. The dancers, all male, disguised as doctors, constantly beat the maqt’a or cholo, with huge books representing criminal codes. They also wear braided leather whips called discipline and supposed to be law enforcement instruments.



(They are mestizo dances inspired by the Wayno and denoting the gallant and rogue spirit of the Cusco mestizo. The music, smiling and melancholic at the same time, expresses the rogue disdain that cholos and cholas pretend among themselves about their loving feelings. Galán manifests singing that there are many like the intended one, while she replies that she is not lacking in many and better ones who postulate her favors. his songs, with the passion he feels for the loved one.



These dances have been collected from one of the most distant provinces of Cusco, such as Chumbívilcas, whose inhabitants are different from those of other provinces. They are very haughty, dashing and freedom-loving, perhaps because they are dedicated almost exclusively to raising and benefiting cattle and horses, in addition to agriculture. These activities added to the altitude and topography of the geographical environment where they live, which is very rugged, therefore make them bold, rebellious and tough.



This dance has been collected from the Anphay community, P’isaq district, Calca province. The lyrics of the song of this dance show the mischievous and mischievous spirit of the youth, as well as the veiled and "innocent" insinuations of the romantic "opponents", honoring the so-called Andean love that in runasimi says "maypin maqakuy, chaypin munakuy "(Where there is punishment there is love).



The Chuchu, like qorilazo, although as an "infant", travels the great distances and the rugged paths of the Andes, always in union with its faithful companion, suffering and enjoying with it the sorrows and joys of the sunny mountain trails and for brighten up the walk, they dance singing waynos that evoke their adventures and adventures, and then seek rest and sleep in the simple bed of shaggy caronas or the friendly poncho that serves as a shelter.



On the days dedicated to the carnivals, groups of young women and men meet in the streets and squares of the Andean towns, where they perform dances and songs through which they intertwine their loving feelings. When singing, the boys constantly repeat the name of three flowers that grow in the heights, with which the girls adorn their hats. These flowers are: Surphuy, Waqanki and Phallchay, whose beauties compare with the girls to whom they pretend. The name of this dance comes from the name of one of those flowers.



In this dance and others of its kind, young people who awaken to love, life and adventure, go to the houses of their chosen or intended to invite them to go out and dance singing. In their youthful impatience, they do not hesitate to "kidnap" them, evading the vigilance of the paternal home.



Dance from the province of Paucartambo - Cusco. The jungle tribes are called “ch’unchus”, whose translation is “wild”. These societies have deserved special consideration on the part of the “qeswas” or inter-Andean societies, because they are granted unusual powers. The stage represents the virgin jungle in which, from opposite directions, two or more tribes approach and evoking their tutelary manes or Apus, they dance as a sign of friendship as well as of confrontation of forces and abilities in the handling of bows and arrows . In this dance only males and extra characters participate in costumes of monkey or k’usillo, bear or ukuku, maqt’illo or waiter.



Collected in the province of Paucartambo - Cusco. Dance of republican origin. It is executed by single girls called Qoyachas and young men who are called Waynas. This dance represents the joy of work, planting and harvesting.



Released on November 9, 1922 at the Teatro Colón in Buenos Aires. Recreated by Antonio Alfaro and Lizardo Pérez, respectively). The skill of the Cusco woman in manual labor, especially in spinning and weaving, are remarkable. This is borne out by that great variety of handmade fabrics, such as caps or ch'ullos, mantas or llijllas, mantillas or unkhuñas, headdresses or ñañazas, qeperinas, girdles or chunpis, blankets or umpis, bags or ch'uspas. This traditional painting expresses that work of the Andean inhabitant of Cusco.



Released on November 9, 1922 at the Teatro Colón in Buenos Aires, with the title of Achanqaraylla. Recreated by Antonio Alfaro for its premiere in Cusco in 1948. Then recreated by Lizardo Pérez). Traditional painting in which the different ceremonies or Aqnay that agricultural workers perform are collected, at the time of cultivating the land. Thus the invocation ceremonies or Wanka are appreciated to the sun, the rivers, the mountains, the rains and especially to Mother Nature or Pacha Mama.



Collected in the province of Canchis - Cusco. The dancers are led by the main authority or Apulli of a native community. At present this character is called by the mestizo word Varayuq (the one with the command rod). Two girls who represent love and the offering to be given to the Pacha Mama accompany the varayuq. The dance has several figures: Entrance or haykuy, Salute or napaykuy, Braided or sinp'a, Dance of the Hondas or warak'a tusuy, Dance of the Mozas or p'asña tusuy, Dance of the sticks or tawna tusuy, Dance of the Boss or qollana tusuy, Kacharpari or farewell, Salida or lluqsiy and Pascalle.



It is the dance of the llama shepherds, an American camelid that has been and is the most generous animal with which nature or Pacha Mama lavished on them. The llama as well as the Pakucha, Wik’uña, Alpaka and even Wariso, offer the Andean people: meat, wool and fuel for the stove. That is why the native holds special consideration and affection for this camelid, having dedicated dances and songs to it. The dancers in this dance cover their faces with the Waq’ollos. The main figures are: Parade, Napaykuy or greeting, T’ijray or half turn, Chakatay or crossing, Sinp’a or braided, Q’enqo or zig-zag and Paskay or scrap.



This dance is said to be an allusion to our ancient coin The Sun. They are probably also an evocation of the Inkaikas festivals of the Qhapaq Raymi festival of the strong or powerful, in which the men intervened after the great competitions or Atipay or Chaninchay of the Warachikuy.



Inkaiko painting in which the warriors dance with their truncheons or Maq’anas, within an Inka scenery. It premiered in 1928 at the Municipal Theater of Lima and was presented again at that theater in 1958.



Dance from the province of Paruro - Cusco. It represents the characters that, according to popular beliefs, live on the rocks, with very original clothing made of wild, pencas, reeds, deer leather. The movements and figures as well as the music are very simple, however they cause great expectations in the public.



This dance is said to be a parody performed by the inhabitants of the Andes to a jungle tribe or Ch’unchu already extinct after fierce fighting between tribal communities. These tribes would have been of the Chontakiro or "tooth of chonta". But due to the scene in which these dancers usually perform and which is the Qoyllur Rit'i Sanctuary or “snow star”, the same one that is located on the slopes of the snowy Awsangati, it seems to be a demonstration of the extraordinary vitality and strength that characterizes the Andean settler.



This dance evokes the merchants and migrants from the highlands called Qollas. These traveled and still do today, the great expanses of the country and especially the valleys of Cusco, with their llamas loaded with salty meats, highland cereals, artisan ceramics and for domestic use and other natural and processed products, the same who exchanged and traded the warm valley or Qheswa with spices and fruits, such as corn, coca, potatoes, salt, and other products. Currently this dance is performed in the beautiful town of Paucartambo - Cusco, because these transhumants from the Ande, the qollas, were the ones who introduced the cult of the Virgen del Carmen in that town and who celebrate it with majesty every 16th of July. In this dance several figures and movements are seen, the main ones being: Parade, Adoration, Blessing, Chinka Chinka or loss, Isicha Puytu or small pitcher, Ini or prayer, Yawar Unu or blood water, Paskay Charge or unlocking of the load and Kacharpari or farewell.



The word k’achanpa is translated as lopsided or sideways. Due to the attitudes, music, figures and other movements staged, this dance reminds us of the great competitions and evaluative tests of men called Warakuy of the Incas. Its main movements are: Parade, Tinkuy or challenge, Uyapura or careo, Warak'a Tusuy or dance of the slings, Q'enqo or zig-zag, Warak'anakuy or fight with slingshots, also called Yawar unu, and Qhaswa or jubilation .



The young natives, romantic and gallant, compete for the love of the native or P’asña, through repeated contests. They must carry large weights on their backs, travel considerable distances, plow better and promptly, dance and dance in measure, pleasantly play the quena, perform a correct wave, all this to be chosen by the P’asña.



Dance collected in the Combapata district, Canchis province - Cusco. In this dance the girls when they sing, proclaim their singleness and propose to the boys the conditions and deserves that they must possess to achieve their affection and sympathy. Boys flatter them with expressions of affection, comparing them to the fresh and fragrant native flowers or Sumaq T’ikas.


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