Contemporary Dance in Peru has not yet managed to fortify its identity as a representative subject of the performing arts; this situation is clearly seen in relation to Drama, Ballet and Folk Dance; activities that rely on institutional economic support for their productions.
On the other hand the constancy of the people involved in its practice, diffusion and production; the acceptance of the new tendencies by the young; its greater presence in universities and schools; and the participation of dancers in activities of other artistic disciplines, arts, cinema and advertising, among others, allow contemporary dance in Peru to be seen as being strengthened.
The state of peace and the sustained economic growth in the last years have allowed for the promotion of dance and an increase in its activities raising its technical and artistic level. In recent years there has also been a greater presence of dancers, foreign companies and choreographers, some of whom have realised projects of residences and interchanges with technical workshops that generally finalise with a show with the participation of local artists.
Lima is the city that presents the biggest activity in Contemporary Dance in Peru at the moment. In the interior of the country, especially in Arequipa, Trujillo and Cuzco, there is an increasing interest in contemporary dance, thanks, to a great extent, to the groups of alternative theatre that are incorporating the investigation of movement to their artistic practice.
There are few professional activities that present contemporary dance in Peru. Some that we can mention are Danza Nueva Festival Internacional de Danza organized by the ICPNA - Peruvian North American Cultural Institute, the Festidanza organized by the British Theatre, “100% Cuerpo” organized by Komilfo Theater and Alliance Française, FORO organized by Vichama - Centre of Art and Culture and FITECA - International Festival of Street Theatre in Comas.
In October 2007 Peru en Danza, 1er Encuentro Internacional de Danza Contemporánea y Movimiento was celebrated, an initiative of a group of choreographers and Peruvian independent producers intended to generate spaces for the development and the valorisation of contemporary dance in the country. The encounter was organised in association with the RSD- South American Network of Dance and diverse local organisations like Andanzas, Escuela de Danza Contemporánea y Movimiento de la Pontificia Universidad Católica del Peru, the Peruvian North American Cultural Institute and the British Cultural Centre.
The National Institute of Culture, dependant on the Ministry of Education, is responsible for artistic activities in Peru. There is no specific official institution that takes care of contemporary dance. Neither is there any Institutional aid for the Peruvian artists to travel abroad; each group or choreographer must obtain by their own means to cover the costs of their participation in international festivals. The foreign companies that present in the country generally count on the support of their embassies or agencies of international cooperation to cover the costs of their presentation.
In 1987, the National Dance Council was formed, as a cultural association made up of dancers and choreographers. With the prime aim to promote dance they have been doing activities like the International Day of Dance, Festivals for academies and schools, and seminaries among others. The Dance Council counted from the start with the support of the Peruvian North American Cultural Institute ICPNA.
At present there isn’t a qualification in dance with a university academic title. However, there is an increase in the inclusion of dance in integral academic formation by means of the creation of courses that in their majority allow college students to enjoy the experience of being a member of a dance group.
Since 2005, the Regular Basic Education curriculum includes the area “Education by the Arts”; which looks to develop the capacities of expression and artistic appreciation in the disciplines of visual arts, theatre, music, dance and folklore; which directly generates a demand for dance teachers.
At the moment the Pontificia Universidad Católica del Peru has been developing a program in contemporary dance through its School Andanzas, that after a 5 year curriculum, grants a teaching diploma. Also, for 2009, there are plans for the implementation of the specialty in contemporary dance and movement within the Faculty of Sciences and Arts of the Communication.
With respect to its historical evolution, Peruvian modern dance was transmitted by foreign dancers and choreographers; especially the dancer and choreographer Trudy Kressel, of the expressionist line from central Europe. By the end of the Fifties she established the first space dedicated to education and investigation of modern dance in Lima. Trudy Kressel formed one of the first companies of modern dance, carrying out presentations throughout the Sixties and beginnings of the Seventies.
In the seventies it is important to mention the English teacher Vera Stastny who, in 1973 with the support of the British Council, introduces modern dance in the Ballet of San Marcos (created in 1964). As well as the creation of the Modern Ballet of Camara in 1974 directed by the Chilean dancer and choreographer, Hilda Rivero.
The eighties were good years for dance, as much in the formation of groups, production of festivals and creation of private spaces for dance education. Dance production was frequent and varied, presenting spectacles of diverse tendencies, dance-theatre, performances and interventions, among others. Private companies and cultural centers offered support, as much in Lima as in the provinces, especially the North American Peruvian Institute, the Alliance Française and the Goethe Institute.
The serious economic crisis at the end of the eighties and the presence of terrorism, directly affected dance, producing the suspension of the production of spectacles and the consequent migration of dancers and choreographers abroad. Also, the state reduced to the minimum the budget for support of the arts.
In the nineties, terrorism was controlled and allowed the economic situation to begin to stabilise towards the end of the twentieth century. In spite of the social and economic situation, dance never disappeared, and was through the academies, festivals and private productions that it stayed active and in constant evolution.
The economic and social stability, allowed the return of dancers and the appearance of new festivals. The companies Terpsícore (1990), Danzul (1993), Pata de Cabra (1995), EspacioDanza (1999) and festivals were created such as the International Dance and Theatre Festival of Lima organized by the Municipality of Lima, with Karin Elmore in charge, and the Puntadas Festival of the Alliance Française.
In the 21st century, dance has increased its activities and, in spite of not being able to easily rely on significant auspices, there has been an increase in the number of dancers, the formation of dance groups, the creation of training centres and projects of residences.
Text written by: Mirella Carbone, October 2007