weren't telling.) They seldom use any colors. In a few of
their slides you could still see the pattern the slip mace
during the pouring on the side of the finished piece.

They showed slides of some other sorts of sculptures made

by draping porcelain over a round styrofoam form which was
allowed to harden sufficiently and then cut open revealing
intricate inside forms, like a human head exposed. dnd they
made a small bowl by draping small pieces over a round form
and pinching them together. When removed it looked like a rose
on a small pedestal foot.

PROJECT IN PERU by May Davis

In 1969 my husband, Harry, and I visited Peru an holiday. We
travelled round central Peru in local buses and were fascin-
ated by the people and the remains of a culture so unlike
Ours. We were appalled at the poverty and almost ashamed of
the ease with which we could turn an honest penny. We decided
to use the money earned on lecture tours and from overseas
exhibitions to try and help those who had so little by start-
ing a pottery in just one small village in the sierra, in the
perhaps naive belief that such a project might discharge in
some minute way the debt which the West owes to those the re-
mains of whose culture has been so cruelly maimed by contact
with ours. To quote Harry, "The notion of hand-outs and con-
descention must be avoided like the plague."

Such activities are often criticized on the grounds that they
further undermine the local culture, but it must be remembered
that the whole of the Peruvian Sierra is already under heavy
bombardment by the sordid material elements of our culture.
The people need the help and respect of sensitive people who
will cushion the impact and encourage them to value and retain
their own traditions as far as possible. I have heard a mi-
ssionary-teacher say, "the sooner they forget their past and
their language, and become totally integrated the better." A
truly appalling attitude and conceit.

by