Lima / Cusco / Ayacucho (Huamanga / Vilcashuaman)
March 24 – 30, 2017



FIMA in Lima

  • The grand finale, with the participation of all of the festival musicians, was conducted by the Peruvian musician Magali Luque, who also conducted the finale of the second FIMA in 2016, and once again featured the participation of members of the San Marcos Alumnus Choir.
  • As a response to the disastrous consequences of the floods, the Festival expressed its solidarity with the flood victims, joining in the campaign to collect donations. Goods donated by concert-goers during the three days of the Festival were delivered to the San Isidro office of the Ministry of the Interior.
  • In conjunction with the Directorate General of Arts and Cultural Industries of the Peruvian Ministry of Culture and the Cultural Section of the Office of UNESCO in Lima, the first training workshop for Andean musicians was held. Also, with the Science Section of the Office of UNESCO in Lima, a conference was organised on the theme: Management of Andean land: our relationship with the Pachamama. Both these events took place in the AFP Integra Auditorium of the Lima Museum of Art (MALI) on March 25.
  • The Peru Symphony Orchestra organized a performance of Concerto for charango Nº. 1: Three Andean landscapes composed by Federico Tarazona, who participated as soloist. The concert, performed in the Grand National Theatre on March 24, was dedicated to the International Highlands Music Festival.
  • Two concerts were organized with the Peruvian North American Cultural Institute (ICPNA), one before and one after the Festival, in the auditorium of its Lima Centre campus. On March 22, the Indian group Ranganiketan performed, and on March 27,
    Switzerland’s Pflanzplätz.
  • Festival activities in Lima finished on April 4, with a concert by Federico Tarazona in the Inca Garcilaso Cultural Centre in the Peruvian Ministry of External Relations, also featuring as special guest the Ayacuchan artist Magaly Solier.

FIMA in Cusco

FIMA in Ayacucho: Huamanga and Vilcashuaman

All of the concerts and other activities of FIMA, in Lima, Cusco and Ayacucho (both Huamanga and Vilcashuaman), were free of entry charges.

Goals Achieved

  • Audience. The festival audience in Lima has grown steadily since the beginning, but in this last edition the growth was more visible. The reception in Cusco, for the third timem and in Ayacucho, Huamanga and Vilcashuaman, for the first time, show that there is much potential to develop a festival outside of Lima. The total attendance in the various and concerts and other festival activities in this edition was about ten thousand people. It is a public which crosses social categories, open and eager to hear unfamiliar and varied rhtyhms. This aspect of the festival is of great importance, given that the festival is a new and unprecedented proposition in Peru.
  • International attraction. The festival is attractive principally to European media and festivals. Journalists from well-known British and German media covered FIMA activities in Lima, Cusco and Ayacuho for the presitigious world music magazine Songlines, for BBC Radio 3 and BBC Radio 4, and for Bavaria Broadcast. The president of the Swiss alpine festival Alpentöne, Hansjörg Felber, attended for the first time, joining his artistic director Johannes Rühl, who has participated since the first edition.
  • vilcashuman-recibimiento-2
  • Close the festival in the Andean peaks. To end the 3rd edition in a remote Andean location such as Vilcashuaman, Ayacucho, was a milestone, an experience so full of life that it left us speechless. It was an opportunity for the delegation — musicians, functionaries of national and international institutions, and the FIMA team — to share and celebrate with the community. The impeccable organization was provided by the Peruvian headquarters of Qhapaq Ñan (the Inca Trail).
  • Youth and children’s orchestras. The participation of orchestras such as the Peruvian National Children’s Choir, the Big Band of Pestalozzi School, and Municipality of San Borja’s Youth Symphony Orchestra, has been very valuable, among other reasons, because it allows different generations to connect with each other.
  • FIMA replicated in the Alps. In July, 2016, FIMA was replicated in the Austrian Alps, in Leogang, Salzburg, featuring musicians from the Andes, the Alps and the Himalaya who had performed in the first two editions of FIMA in Peru.
  • Parallel concerts. The realisation of concerts in other cultural spaces of Lima, before, during and after the festival — with ICPNA, with the National Symphony Orchestra, and with the Inca Garcilaso Cultural Centre — helped the festival reach new publics and strengthened its inter-institutional links.
  • A cultural and educational proposition. The public is learning to appreciate musical forms which have not been present in Peru, and particularly to the instruments of highlands countries, some of which are very similar to each other — the Alpenhorn and the clarín of Cajamarca; the Himalayan and Alpine versions of the hammered dulcimer — and others more distinct — the hurdy-gurdy, the waqrapuku, the tinya, and many more.
  • Indigenous Andean languages. FIMA also promotes the use and celebration of original languages. In this edition, the audience heard songs not just in Quechua and Aymara, but also Mapuzungun, the language of the Mapuche people. And for the first time, the festival was presented in Quechua, in the main concert in Vilcashuaman.


  • The musicians are the protagonists and principle allies of the festival; without them, it would be impossible to realize anything. Up to now, 31 groups — 92 musicians — have participated in the main concerts, representing from the Alps, the Andes, the Himalaya, and the Pyrenees. Some have also performed in and helped with other activities in Cusco, Arequipa, Cajamarca and Ayacucho.
  • In this 3rd edition, ten groups from nine countries participated, representing the Alps, the Andes and the Himalaya. In Lima, Cusco and Ayacucho, a total of 142 other musicians were present as special guests, brining the total in three editions to 250.


  • The 3rd edition has been possible principally thanks to the support of national public institutions. Promperú was an important contributor to the production of the festival, and for the second time provided the bus which was the official transport for the musicians. The Peruvian national headquarters of Qhapaq Ñan provided an invaluable support to the festival in Lima and Vilcashuamán. The Municipality of Lima and SERPAR (the Lima Park Service) provided, for the third time. the use of Exhibition Park and the Nicomedes Santa Cruz Amphitheatre.
  • Musical groups were supported by the Swiss Embassy, the Suize Cultural Fund, and the foundation Prohelvetia; the Embassy of India and the Indian Council for Cultural Relations; the Austrian Embassy; the Italian Cultural Institute; the Ministry of Culture of Argentina; Ibermusicas, the Quebec Council of Arts and Letters; Soboce and the Embassy of Bolivia. Also, there was timely support from the Embassies of Argentina and Colombia, together with the Foundation Sueño Colombia (Colombian Dream), the Orson Welles Educational Institute and Sky Airlines.
  • We recognize and value the economic contributions of Trafigura, Química Suiza, ABB, Otto Kunz, Fesanco Peru S.A y Germania, and the contribution in services of Inkaterra, Swissötel, Inca Rail y Radio Filarmonía.
  • With the proposition Recorrido Gastronómico (Gastronomic tour) we united two key axes of culture: music and food. Ten Miraflores restaurants contributed so that the musicians could enjoy the food of Armónica, Café de Lima, El Pan de la Chola, La Mar, La Red, Mantra Garden Restobar, Mazza Pizza e Birra Artigianale, Punta Sal, Seitán Urban Bistro and Wa Lok, all within convenient walking distance of their hotel.
  • This edition has also been an interesting window for other manifestations of Andean art. KUNA gave each musician the gift of an alpaca shawl with precolombian designs from ancient Peru.. The designer Lourdes Chambi and Somos Libres allowed the FIMA team the use of their innovative designs inspired in the tablas of Sarhua.
  • The sponsor’s trademarks were presented in the various publicity materials, both printed and electronic, illustrated in Annex I (Advertising and Publicity Materials.) These include the website, social networks, videos, posters, the festival catalogue and programme brochure, banners, roll screen and backing.


  • The strategic alliance with Unesco Peru is very valuable and enriching. We having been working closely with Unesco since the first edition, with a medium- to long-term perspective and with the goal of strengthening capacities in different areas (highlands music, environment, and culture). It is also an alliance which opens doors and helps us connect with other institutions.
  • The strategic alliance with Peruvian Culture Ministry is also important, and has been strengthened in this edition. We have worked closely with the Directorate General of Arts and Cultural Industries to organize the first training workshop for Andean musicians, as well as the participation of the National Children’s Choir in the opening ceremonies and the realisation of the concert with the National Symphony Orchestra and Federico Tarazona. In Cusco and Ayacucho the Decentralised Culture Directorates (DDCs) have been the motors of the Festival’s local organization.
  • In Cusco and Ayacucho, FIMA was realised thanks to the effort and commitment of local, national and international institutions. Coordinations in Cusco were led for the third time by the Alliance Française with support from the DDC; in Huamanga by the DDC, and in Vilcashuaman by the national headquarters of the Qhapaq Ñan.
  • The realisation of the festival in Vilcashuaman was emotional and spectacular. The conjunction of two special moments &endash; the closing of the 3rd edition of the festival and the recognition by Unesco of Magaly Solier as Artist for Peace &endash; converted this beautiful town, a place of great archaeological importance and the ancient heart of the network of Inca roads, into an important festival of integration, joining local authorities and the entire population with the FIMA delegation, composed of musicians, the FIMA team, and national and international functionaries, including the Swiss Ambassadors Hans-Rüedi and Mónica Bortis, the Peruvian Ambassador in Unesco, Manuel Rodríguez Cuadros, the Representative of Unesco in Peru, Magaly Robalino, and the Coordinator of the National Headquarters of Qhapaq Ñan, Giancarlo Marcone.
  • The commitment of certain diplomatic and cultural institutions with the festival has been critical, assuring not only the participation of the musicians, but also involving themselves directly in Lima, Cusco and Ayacucho. Ambassadors and diplomats attended the concerts of musicians of their countries. The Ambassadors of India (Sandeep y Taruna Chakravorty) and of Austria (Andreas y Eva Rendl), as well as the Cultural Attache for Austria (Isabelle Hiller) attended FIMA in Cusco.
  • Since the first edition of FIMA, the participation of Swiss Ambassador Hans-Rüedi Bortis and his wife Monica has been important, both institutionally and personally. The commitment of Monica Bortis as festival matron has been invaluable.
  • We celebrate and appreciate the involvement of the municipalities of Surquillo and San Borja. The first placed a dozen banners in important district thoroughfares, and both facilitated the attendance of their residents. The Municipality of San Borja also participated with their Youth Symphony Orchestra in the opening of the last day of the festival.

Recognitions and Thanks

  • Peruvian artist Julie Freundt was the Image of the 3rd FIMA, and the MC for the main concerts in Lima, a task which she fulfilled with professionalism, warmth, humour, and an excellent mfue la Imagen del 3er FIMA y la presentadora de los conciertos estelares en Lima, a los cuales les impregnó de profesionalismo, calidez, humor y great scene management.
  • Participating musicians are selected by a committee of curators committed to music and culture: Gérard Borras, Leo Casas, Liana Cisneros, Carlos Flores Ledesma y Johannes Rühl.
  • FIMA is organised and realised thanks to the invaluable effort and commitment of its team, who for years now have been working with professionalism and love. During the festival itself, the team is complemented with an important group of volunteers who work in production and logistics, many of whom have been working with the festival since its first edition.


The summary of expenses and income of the 3rd FIMA (below) shows that fundraising was not sufficient to cover all of the costs of this edition. The festival was realised thanks to the surplus accumulated from the first two editions.

It’s important to note that much of the work for the organization and implementation of the festival is not reflected in the financial statements. The success of FIMA 2017 depended on a huge team of volunteers, inside and outside of Peru, who donated their time over several months to make this project a reality.

Expenses Realized by the Association Arte de Alturas Realized by sponsors Total
Production, site and installation 7,974.83 154,100.00 162,074.83
Musicians (travel, accomodation, catering, and other related) 15,434.12 151,289.54 166,723.66
Publicity and media 7,414.26 86,407.96 93,822.22
Administration and other expenses 47,065.76 47,065.76
Events outside of Lima 2,861.62 104,917.23 107,778.85
80,750.59 496,714.73 577,465.32
Financial Donations 50,188.00 50,188.00
Donations in services 496,714.73 496,714.73
Sales 7,313.00 7,313.00
57,501.00 496,714.73 554,215.73

  1. The reported costs of services are on the basis of estimations made by the sponsors.
  2. The report of costs includes payments made in the 12 months ending April 30, 2016, and the pending payments which were postponed until May.
  3. The costs reported do not include S/.13,494.50 spent on the production of the 2nd FIMA CD. A prevision of S/.12,600.00 was included in the financial report for the 2nd festival.
  4. Amounts in foreign currency were converted to Peruvian New Soles according to the exchange rate on March 26, 2017.


Annex I: Advertising and publicity materials

Annex II: Press coverage

Press clipping (118 pages as a PDF file, mostly in Spanish)

Some notes in digital formats (mostly in Spanish)

Annex III: Commentaries about the festival

Me quedé fascinada, un evento maravilloso. Carmen C Trujillo, Directora de la Fundación Sueño Colombia en el Perú.

Gracias Mil!!! FIMA, maravilloso evento. Nos regalaste una de las experiencias más fascinantes de nuestras vidas junto a músicos del mundo. Cómo agradecerte el haber permitido invadir con nuestra música los corazones de este pueblo peruano noble y querendón?
Hasta una próxima. Mil felicitaciones por este tercer FIMA. Adelante y ánimo. Cuenten siempre con nosotros!!!
Vladimir Ardilla, Dueto Nocturnal (Colombia).

Quiero expresar mi sincero agradecimiento por haber logrado la integración cultural mediante la música, un buen referente cultural que quedará como un recuerdo y una guía para continuar con el inmenso trabajo de difundir el alma de los pueblos, felicitaciones y que el FIMA siga creciendo y siga integrando nuestras tradiciones y costumbres y las nuevas proyecciones de la música. Alfredo Coca (Bolivia).

Gracias por el gran compromiso y por el esfuerzo de todo el equipo del Festival de Música de Alturas. El resultado me pareció excelente!”. Gabriele La Posta, Director Instituto Italiano de Cultura Lima.

I also would like to thank you and all the other people, that contributed to this wonderful festival. We appreciated and enjoyed it a lot and will never forget our visit to Peru. Right now I’m back in Ayacucho with my family. Simon Detwiller, Pflanzplätz (Suiza).

Les felicito por esta “locura” de crear este festival y tener este tremendo equipo, de los locos soñadores y rupturistas se hace vanguardia y se logran los grandes cambios en los pueblos, por eso agradezco haber sido parte de este hermoso proceso que uds han sembrado. Seguro lograrán que este Festival siga creciendo cada año. Fabiola Gonzalez (Chile).

Para mi fue un verdadero placer volver al FIMA y para Maddalena una grande primera vez. Fue una experiencia exaltante y emocionante, y los viajes (Ayacucho y Vilcashuamán) fueron fantásticos. Todo, desde el primero hasta el ultimo dia fue bellísimo. También mi papá les agradece, y para él ha sido uno de los viajes mas bellos de su vida. Andrea Capezzuoli, Soleluna (Italia).

Tanto para mí como para nuestros niños ha sido un placer inmenso presentarnos en la 3ra edición del FIMA. Este festival constituye para nosotros una plataforma en la que podemos difundir parte del repertorio que presentamos en los proyectos Tinkuy y Cantos del Ande, programas que comparten mucha afinidad con los objetivos del FIMA y estamos felices de poder ser parte de todo esto. Mónica Canales, directora del Coro Nacional de Niños del Perú.

Comentarios de las redes sociales

3er. Festival Internacional de Música de las Alturas…. simplemente EXTRAORDINARIO … !!! Gracias Suiza, Italia, Colombia y desde luego nuestro PERÚ. Welcome to Ayacucho.

Nuevamente gracias por la magnífica labor para el desarrollo de esta III edición del FIMA. Amalia Rocío Salazar Huillca.

Fue hermoso!!! Muchas gracias!! Hasta el próximo año. Jhannete Melissa.

Felicitaciones a los organizadores de este gran Festival. Julio Zamora Castro.

[Catch Pop String Strong de Austria] Extraordinarias! *-*. Mishelle Ccoyllo.

Espero con ansias el 4to :)!! Gran festival !!!felicitaciones!! Jacqueline Dioses.

Qué fabuloso espectáculo. Estuve presente en la clausura en Lima y realmente me encantó. Felicitaciones!!! Yamil VZ.