Wooden panel covered in plaster or gesso and painted. Tabla shows the assassination of community authorities by ‘Shining Path’ insurgents. The men with rifles are wearing balaclavas. This episode in the series evidences the reaction of the Maoist group to the destruction of the local community centre by State military. This act constituted a counter-threat.

Wooden panel covered in plaster or gesso and painted. Tabla shows men in military camouflage, raiding the Empresa Comunal de Sarhua, the community centre at Sarhua, which held community records and cultural knowledge. The image also shows residents from Sarhua (‘Shining Path’ supporters?) climbing a fence to escape the State military - known as Sinchis. The people watching the destruction of the Empresa Comunal are visibly shocked and saddened. They argue amongst themselves. US trained Peruvian counterterrorist police are shown looting and destroying the autonomous community building at Sarhua.

Wooden panel covered in plaster or gesso and painted. Tabla shows the village square in Sarhua. People in traditional Ayacuchan dress stand in a large circle, listening and applauding a group of people holding rifles and red flags decorated with the hammer and sickle. There is a short text in Spanish explaining the episode in the Maoist ‘Shining Path’ armed conflict. The Shining Path insurgents make promises of much needed economic help. Initially the terrorists were met with support from the local communities in Ayacucho.

Painted house beam. Object is a slice of a tree trunk, covered in white plaster on the front, with the bark left on the back. The part that has been plastered is painted with natural pigments. The beam would be read bottom to top. At the bottom is one of the patron saints; San Juan Bautista. In phrases divided by various patterns, such as flowers and llamas, the beam depicts a range of daily activities such as sowing seeds and weaving. The persons represented are named in writing. At the top of the beam is the sun.

Long woven tumpline with repeating geometric pattern. Design is of repeated triangles, in light purple and red or burgundy, which form V-shapes and lines with a yellow background. Each end is finished with alternating bands of heathered black and light green, which tapers to warp fibres that are braided to create the carrying straps. Knots have been tied at both ends.

Fishing creel basket with attached lid. The basket is constructed of coil weaving with an irregular curved rectangular base, concave back and convex sides creating a bulge at the centre of basket narrowing to rounded rectangular mouth. Imbricated with insect designs in red and black bark. The lid is attached by two rawhide ties. There is a rectangular hole woven in the centre of the lid. There is a small slit in the front edge of the lid, and just below the rim of the basket. The interior is plain. (A brown shoelace has been tied to the back of the basket.)

Nasca style contemporary jar. Spherical hollow body with deep cylindrical bowl at centre and a long spout at the side. Painted decoration of five figures holding weapons with a dark brown background. Unpainted base. Polished surface.

Polished ceramic head of a figure. The figure has a large bump protruding from their left cheek. The facial features are incised with exception to the built up nose. There is a small circular hole on the top of the head. Fragment of a larger object.

Small standing female figure. The figure has a bulbous waist with tapering legs. She has wide incised eyes, a pointed nose, and bared teeth. The figure has a strongly incised vaginal opening and an anus. She wears a simple headdress and large ear spools. The head (part a) has broken off from the body (part b) of the figure at the neck. There are remnants of red paint all over the figure.

Upper body of a small female figure. The figure is very wide and flat. She has wide incised eyes, a pointed nose, pouted mouth, and is wearing a simple headdress. Her left arm and legs have all broken off. Fragment of a larger object.