Los Negritos de Garibaldi es una danza que se realiza en honor a la Virgen de Cocharcas en el distrito de Sapallanga en Huancayo y es una forma de recordar la liberación de los esclavos negros en el Perú, su traje distintivo de marineros, recuerdan al héroe italiano Giuseppe Garibaldi que fue conocido por su oposición firme a la esclavitud. En las esclavinas que portan los danzantes permiten que el artista bordador pueda plasmar no solo un recuerdo histórico de héroes pasados, sino que a la vez se convierten en un testimonio de un hecho histórico del presente. Una constante vemos en los bordados, la imagen del militar, del luchador que defiende del enemigo, que lucha por ideales patrióticos, del que cuida y protege. Y los bailarines utilizan estos bordados para honrar a la Virgen de Cocharcas, la madre protectora, dadora de vida y que ha de proveer del cuidado y valor que el luch...

Digital tools are not new, but the pandemic has made visible the need for cultural institutions to establish new alternatives and digital has not only become a tool, but has become vital for the empowerment of museums and culture in general. According to Conseil International des Musées (ICOM), communication is often not a priority for cultural organi-zations, and even less so when it comes to digital, specifically social networks (2019, p. 5). An analysis was made of the digital responses of two Peruvian institutions, the Museo de Arte de Lima (MALI) and the Gran Teatro Nacional (GTN), to determine how their presence in social networks and on the web evolved. For this purpose, we also talked to the people in charge of the communication areas of these institutions.

The art market is a trust-based system and much of this trust is built over time through the reputation of the people involved. It is in this system where the digital is gaining strength, not only to be used as a means of communication, but also to position itself as another player in the system. The pandemic prompted the creation of the online media offer that sells works of art, companies and start-ups that have chosen to create digital platforms of various types for the sale of works. However, can we really talk about a digital transformation of the art market or is it a market that is wary of being immersed in a digital system? It's important to understand the visibility, trust, and transparency issues you face so you can overcome them. This work collects the experience of various actors within the sector.

Digital tools are not new, but the pandemic has made visible the need for cultural institutions to establish new alternatives and digital has not only become a tool, but has become vital for the empowerment of museums and culture in general. According to Conseil International des Musées (ICOM), communication is often not a priority for cultural organi-zations, and even less so when it comes to digital, specifically social networks (2019, p. 5). An analysis was made of the digital responses of two Peruvian institutions, the Museo de Arte de Lima (MALI) and the Gran Teatro Nacional (GTN), to determine how their presence in social networks and on the web evolved. For this purpose, we also talked to the people in charge of the communication areas of these institutions.

Los Negritos de Garibaldi es una danza que se realiza en honor a la Virgen de Cocharcas en el distrito de Sapallanga en Huancayo y es una forma de recordar la liberación de los esclavos negros en el Perú, su traje distintivo de marineros, recuerdan al héroe italiano Giuseppe Garibaldi que fue conocido por su oposición firme a la esclavitud. En las esclavinas que portan los danzantes permiten que el artista bordador pueda plasmar no solo un recuerdo histórico de héroes pasados, sino que a la vez se convierten en un testimonio de un hecho histórico del presente. Una constante vemos en los bordados, la imagen del militar, del luchador que defiende del enemigo, que lucha por ideales patrióticos, del que cuida y protege. Y los bailarines utilizan estos bordados para honrar a la Virgen de Cocharcas, la madre protectora, dadora de vida y que ha de proveer del cuidado y valor que el luch...

The art market is a trust-based system and much of this trust is built over time through the reputation of the people involved. It is in this system where the digital is gaining strength, not only to be used as a means of communication, but also to position itself as another player in the system. The pandemic prompted the creation of the online media offer that sells works of art, companies and start-ups that have chosen to create digital platforms of various types for the sale of works. However, can we really talk about a digital transformation of the art market or is it a market that is wary of being immersed in a digital system? It's important to understand the visibility, trust, and transparency issues you face so you can overcome them. This work collects the experience of various actors within the sector.

Digital tools are not new, but the pandemic has made visible the need for cultural institutions to establish new alternatives and digital has not only become a tool, but has become vital for the empowerment of museums and culture in general. According to Conseil International des Musées (ICOM), communication is often not a priority for cultural organi-zations, and even less so when it comes to digital, specifically social networks (2019, p. 5). An analysis was made of the digital responses of two Peruvian institutions, the Museo de Arte de Lima (MALI) and the Gran Teatro Nacional (GTN), to determine how their presence in social networks and on the web evolved. For this purpose, we also talked to the people in charge of the communication areas of these institutions.

The art market is a trust-based system and much of this trust is built over time through the reputation of the people involved. It is in this system where the digital is gaining strength, not only to be used as a means of communication, but also to position itself as another player in the system. The pandemic prompted the creation of the online media offer that sells works of art, companies and start-ups that have chosen to create digital platforms of various types for the sale of works. However, can we really talk about a digital transformation of the art market or is it a market that is wary of being immersed in a digital system? It's important to understand the visibility, trust, and transparency issues you face so you can overcome them. This work collects the experience of various actors within the sector.