CULTURE AND ARTS

Cultural Policy

According to Article 98 of Chapter VI of the Educational and Cultural Rights of the Constitution of the Bolivarian Republic from Venezuela, cultural creation is free. “This liberty comprises the right to the investment, production and disclosure of the humanistic, technological, scientific, and creative work, including the legal protection of the rights of the author over their works. The State will recognize and will protect the intellectual property over artistic, literary, and scientific works, inventions, innovations, denominations, patents, marks and logos according to the conditions and exceptions that establish the Law and the international treaties subscribed and ratified by the Republic in this matter.”

Likewise, articles 99, 100 and 101 enunciate clearly the legal principles in cultural matter. These articles are presented below:

Article 99:

Cultural values constitute an irrevocable fountain of the Venezuelan people and a fundamental right that the State will foster and guarantee, procuring the conditions, legal instruments, means and necessary budgets. The law recognizes the autonomy of the public cultural administration by the terms established therein. The State will guarantee the protection and preservation, enrichment, conservation and restoration of the cultural heritage, tangible and intangible, and the historical memory of the Nation. The values that constitute the cultural heritage of the Nation are inalienable, imprescriptible and nonnegotiable. The Law will establish the penalties and sanctions for the damages caused to these values.

Article 100:

The popular culture constituents of the Venezuelan nationality (“venezolanidad”) benefit from special attention, recognizing and respecting the inter-culturalism under the principle of cultural equality. The law will establish incentives and stimuli for the people, institutions and communities that promote, support, develop or finance plans, programs and cultural activities in the country, as well as the Venezuelan culture abroad. The State will guarantee workers and cultural workers their incorporation into the social security system that allows them a life with dignity, recognizing the particularities of the cultural task, according to the law.

Article 101:

The State will guarantee the distribution, reception and circulation of cultural information. The mass media have the duty to contribute to the diffusion of the values of popular tradition and the work of the artists, writers, authors, composers, filmmakers, scientists and other cultural creators in the country. The TV media should incorporate subtitles and sign language for people who are hearing impaired. The law will establish the terms and modalities of these obligations.

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Cultural Programs and Achievements

Achievements

The government of the Bolivarian Republic of Venezuela has reached countless achievements in the cultural arena. The Bolivarian government has incorporated the rich Venezuelan cultural spectrum to all the sectors of society. In governments prior to that of President Hugo Rafael Chávez Frías, the less-privileged sectors of the company were excluded; therefore, culture was a privilege for a few. Nowadays, cultural policies prompted by the government have favored the active participation of all the citizens in the construction of the new cultural model.

After the creation of the Ministry of the People’s Power for Culture on February 10, 2005, a new process of deep changes within some institutions that were part of the rising ministry, in order to relaunch the cultural sector of the country.

It is in this fashion that a newly created institution that seeks to make of the Ministry of People´s Power for Culture an entity of the State where elevation of conscience and creative are its true north.

The creation of six key platforms is the result of the changes undertaken:

Film and Audiovisual Media

The Film and Audiovisual Media was created to group the institutions of the Department of the Popular Power for Culture linked to the audiovisual and film activities of the country.

Its mission is to direct, monitor and orient the political strategies outlined by the Ministry of the People’s Power for Culture in the above-mentioned sector, to facilitate the optimum cohesion of its processes and programs in the areas of creation, formation, production, promulgation and disclosure in movies and audiovisual.

This is a fundamental platform; therefore, it bears the responsibility to favoring and stimulating the construction of the imagery collective, through creations conceived as key instruments to achieve a deep transformation in cultural management, in which the Venezuelan town is the maker and protagonist.

The platform is made up of the following entities:

Heritage

This platform was created in order to direct, monitor and direct the strategic policies with respect to the preservation, enrichment, conservation and restoration of the tangible and intangible cultural heritage of the nation, the Ministry of People´s Power for Culture created the “Heritage” platform.

It houses the institutions whose objective it is to safeguard the cultural demonstrations of each one of the regions of the country and give them national and international diffusion.

Entities that make up the platform:

Musical and Performing Arts

This platform was created in order to direct, monitor and direct the policies and strategies formulated by the Ministry of People’s Power for Culture in the areas of performing arts and musicals. It houses the different institutions of this department that are involved in the arenas of dance, theater, music and other related performances. Through the institutions that comprise it, this platform aims to stimulate and protect the development of the musical and performing arts, with a specific focus on the processes of investigation, formation, production, promotion and diffusion of each discipline.

Entities that conform the platform:

Arts of Imagery and Space

This platform was created in order to direct, monitor and orient the politics and strategies formulated by the Department of People’s Power for Culture in the areas of performing arts and musicals. It houses the different institutions of this ministry that are involved in the fields of dance, theater, music and other related areas. Through the institutions that comprise it, it aims to stimulate and protect the development of the musical and performing arts, specifically focusing on the processes of investigation, formation, production, promotion and diffusion of each discipline.

Entities that make up the platform:

Cultural Community Network

The creation of this platform addresses the reestablishment of the cultural institutionalization, and aims to secure the support of local artists and the inclusion of communities in cultural activities. The Ministry of People’s Power for Culture, through the institutions that comprise this platform, works directly in the heart of the Venezuelan nation. The Cultural Community Network Platform is slated to become a fundamental element in the development of the Communal Counsels and of the new university system that is being created in the country.

Entities that make up this platforms:

Books and Reading

Books and Reading is another platform created in order to group the institutions of the Ministry of People’s Power for Culture oriented in the editorial area: production, literary promotion, publishing, distribution and bookstores. Through this platform, the policies designed by the Department of People’s Power for Culture in the editorial arena are directed, monitored and directed. These policies are focused on the protection of author and intellectual rights, the promotion of reading, development, growth and improvement of editorial production and national graphics. In recent months, the Department of People’s Power for Culture, through the institutions that comprise this platform, has edited 27 million books with free distribution, of foreign and Venezuelan authors. In 2005, to mark the commemoration of 400 years since the first edition of Don Quijote de la Mancha by Miguel of Cervantes, one million copies were published and distributed for free in all the Bolívar plazas of the country.

Entities that make up the platform:

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The Venezuelan Investment in Culture and the Arts

The Venezuelan Social Missions are recognized by their focus on the basic needs of the people, including health, training for diverse positions and education. Less well-known, but equally important for the Bolivarian philosophy, is the special attention that the Bolivarian Republic of Venezuela has given to the preservation of the rich historic cultural heritage and to the promotion of the arts in diverse sectors of society.

During the government of the President Chávez, the Ministry of People’s Power for Culture has adopted the motto: “The People are the Culture,” placing emphasis on the Venezuelan folk traditions. In recent years, the ministry has launched a series of programs to document the popular arts and craft traditions with the aim of preserving them in the modern world. The result has been the fast growth of conscience and pride of the diverse cultural demonstrations throughout the country. According to a review conducted by the University of Chicago, Venezuela is the first place worldwide world when it comes to their pride in their artistic traditions.

Defining and Documenting the Cultural Inheritance

Globalization is increasing the erosion of Venezuelan cultural traditions and the ministry has adopted as its mission the documenting and preserving of our local heritage. To this end, the ministry established an innovative program, known as “Cultural Heritage,” promoting forums in each region of the country, to define the community environment of the aspects of the local culture that are specific to each region and that form the identity of the community. These traditions include all the aspects of the local culture, including music, dance, crafts, recipes, architecture, poems, legends and products. These traditions themselves have been documented, described and published through a series of books on the regional heritage of Venezuela, with ultimate goal of distributing the publications in libraries and schools all over the country.

Misión Cultura (Culture Mission): Carrying Art to all Communities

Adapting the style of the educational missions—Castaway, Ribas and Sucre—the Ministry of the popular Power for Culture established the Culture Mission.

The Culture Mission has unfolded the regional art and the manual traditions around the country. Troops of volunteers, known as facilitators, are coached in history, regional arts, craft and music. Subsequently, they travel to all the corners of the country, including cities in the interior and rural settlements, and they teach and share these traditions in spaces made available.

Of the 335 cities of Venezuela, 315 have developed at least one project with the Culture Mission. Currently, more than 33 thousand art projects are on the way to becoming national projects.

The government’s investment has permitted the creation of a network of traditional art galleries in all the country. These provide spaces so that local artisans give a sample of their work as well as for traveling exhibitions to other parts of the country.

In the past, only natives of the cities or the wealthy had access to these types of spaces, such that frequently, it created the impression that art was limited to an elite minority. The presence of art in local communities expands knowledge and opportunities for millions of Venezuelans, now more than ever.

Rejuvenating the Music Industry

The new regulations in telecommunications have encouraged musicians to rediscover traditional music. The radio and television channels have been encouraged to promote the national and independent production. The law of Social Responsibility, inspired in norms like those of Canada, Europe and Brazil, requires that 50 percent of the music that airs sounds in radio stations be produced or recorded by Venezuelan artists.

Additionally, the law provides incentives for musicians that are focused in traditional rhythms since 25 percent of all radio programming, now incorporates elements of Venezuelan folklore—including instruments or traditional rhythms—which has allowed for a re-launching of the national recording industry, generating opportunities for musicians and technicians. Additionally, it has introduced new musical genres, such as the “neon folklore,” which combines traditional with contemporary music.

At present, the radio stations include artists that for a long time were overlooked, such as Serenata Guayanesa, Ali Primera, y Cecilia Todd, among others. Additionally, with the re-launching of these masters of folk music, these have reached the billboards today, impacting new generations. In the last two years, a third of the music sold in Venezuela came from Venezuelan artists.

The Movie Industry

Since 2004, the Villa del Cine (Movie Village) has been operating on the outskirts of Caracas. This foundation, adhering to the Ministry of People’s Power for Culture, has three fundamental objectives: first, to prompt the film production and audiovisual media in general of the Venezuelan state; second, to support the private and public agencies, as well as the independent producers in film production; third, but no less important, the fostering of—through its audiovisual productions—the identity and pluriculturality of the Venezuelan people and the values of liberty, solidarity, justice and peace.

At present, the Venezuelan film industry averages approximately four films per year.

Liaison Offices

The Liaison Offices of the Ministry of the Popular Power for Culture were created for the purpose of relating instances of superior decisions of the ministry and of their respective operating platforms, in order to respond to the rights of the different communities.

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Traditions and Folklore

Art and Culture

  • Venezuelan art and popular culture differ according to the region they originate from. Venezuela is an array of races and cultures. Each zone has its own music, craft, gastronomy and family. Because of this, it is difficult to speak of Venezuela with one single popular culture, as it is made up of many that rich and varied.

  • The evolutionary process of Venezuelan contemporary culture has African, Hispanic and pre-Hispanic roots, stemming from colonial times. The cultural specificity has been achieved through an intense process of transculturation and crossbreeding.

  • The passing of time has left a cultural legacy of diverse native ethnic groups with its rock art, wickerwork, pottery and a rich oral tradition.

  • The national dance, the “joropo,” and its respective popular instruments—such as the “cuatro,” the harp and the maracas—are associated with the ways of life of the plainsman; likewise, in the central seaboard, the African influence is reflected in the dances accompanied by drum and other instruments of African origin.

  • Venezuela counts on an important movement cultural plastic, scenic and musical movement.

  • The plastic arts and crafts have a great importance in Venezuela. The most noticeable cultural characteristic is the music, a mixture of African, European and local rhythms.

  • The theater is gaining popularity and the literary scene is very active, above all among the younger generations.

  • The traditional Venezuelan music and dances are strongly influenced by the customs, traditions and religious beliefs of the three races that built the population of our country: European, Amerindian and African.

  • The popular dances are widely extended as a product of the native culture; however, the typical Indian dances and other purely African demonstrations can be found in several zones of the country.

  • The origins of Venezuelan musical instruments can be traced back to African, European, and aboriginal cultures. These three influences definitively marked the origins of our popular music.

  • Before the arrival of the Spaniards, the Indians used hollow animal bones to make flutes and whistles; additionally, they used marine seashells and maracas. During the colonization and arrival of the slaves, various instruments were incorporated into popular traditions, such as the “cuatro” (small guitar with four strings), the bass, the guitar and the drums.

Traditional Festivals

  1. The Tamunangue
  2. The Battle
  3. The Beautiful
  4. The May Cross Festival
  5. The Dancing Devils of Corpus Christi
  6. San Juan Festival
  7. San Pedro
  8. Central Joropo
  9. Parade of the Children
  10. Candelaria Vassals
  11. Carnival
  12. Burial of the Sardine
  13. The Burning of Judas
  14. San Antonio
  15. Turas Festival
  16. Christmas
  17. Oriental Diversions
  18. Holy Week
  19. Virgin of Carmen
  20. Native Roots Festival
  21. The Tears Festival
  22. The Blacks of San Benito

Instruments

Harp (Chordophone, composed)

Venezuelan HarpA frame with no apparatus to modify its tuning and it’s diatonic. Basically, it consists of a series of parallel chords attached to a triangular frame, formed by: the sound box, peg box and the mast. The sound box, pyramidal in shape, has in the center of its main face a vein that holds the cords, as well as four openings of different heights and sizes, that allow the sound to expand. The peg box, whose wavy form modulates the tension of the cords, has one of its ends inserted in the topmost part of the sound box. The mast serves as support between the base of the box and the other end of the peg box. It has a total of thirty-five cords tuned up in diatonic scales, divided into twelve steel chords for sharp registration, twenty-three that form the medium and low notes. The metal chords, give this type of harp its bell-like characteristic. It is played with both hands: the left plays the low notes and the right the sharp ones. This creates two clearly distinguishable melodic voices that are treated in a contrapuntal manner. This instrument can be played as a soloist; but generally, it’s played in a group that accompanies a singer, who at the same time executes a pair of maracas, bringing together the local assembly of harp, maraca and “buche.”

Bandolin (Chordophone, composed, lute)

BandolinComposed of handle, neck and box; bandurria, double orders; played with a pick. The sound box of the bandolin is plain and piriforme, of varying sizes based on locality, with eight chords distributed in four orders: steel cousins and seconds, braided thirds and quarters. Its tuning norm is that of the violin, with a pick. Along with the “cuatro,” comprise the instrumental basics for interpreting different musical species of the Venezuelan east, such as “galerones,” “joropos,” “jotas,” “malagueñas” and polos—to which can be added the guitar and maracas if the musical accompaniment requires it.

Cuatro (Chordophone, composed, lute)

CuatroMade up of handle, neck, and box; guitar, combined orders; played digitally (with the fingers). Small guitar that differentiates itself from the traditional by cuatro by its fattened composed of three simple cords and a double quarter. The tuning is similar to the simple cuatro, since the double cords are tuned up with the same sound with a difference of an octave.
It is played with a strum, free and subdued, according to the rhythm of what is being interpreted. It is an instrument particular to the assembly of cords in the zone of origin that accompanies especially the “larense” blows, the music of the San Antonio festivities, “salves” and “tamunangue”; and the songs of wakes, of the Cross, saints or angels.

Maracas (Membranophone, of blow, direct)

MaracasTubular, cylindrical, single membrane; open, in play; tied together by rope. Avocado trunk, naturally dry in its interior, carved out until a pipe if formed, with a deer leather membrane, previously attached and tied off with tight ropes by embedded wedges in holes placed in the wall of the drum. The difference between drums is their size and how they are played.

Furruco (Membranophone, of friction, with stick)

DrumsWith loose stick. Tied with rope, with tight ligature. Cylindrical tin plating, painted container, with a leather membrane tied with rope and anchored by cords crossing horizontally. To play, you place a vertical stick on the membrane. The stick, previously waxed, is rubbed with the hands until a vibration is transmitted that produces the sound that characterizes to the instrument. Groups use this during Christmas in the “Aguinalderos” parties.

Conch (Aerophone, of puff, trumpet)

Natural shell with an opening on one end; without mouthpiece. Marine seashell with an orifice located at the top of the shell that serves as the mouthpiece. The puff is emitted with vibrant lips, to produce a strong and penetrating sound. Usually joined with “cumaco” drums, especially in the region of the Central Seaboard, and is played during the festivities in honor San Juan Baptist.

Hebu Mataro (Idiophone, of blow, indirect)

Hebu MataroShaken, made of glass, fruit. Maracas of great size with grooves and symbolic drawings carved into the surface. With a wooden handle that crosses it diametrically, jutting out considerably; small stones are in its interior. It is played with both hands making circular shapes, producing a very unique sound. The chamán is used in magical-religious and therapeutic rituals.

Large Whistle (Aerophone, puff, tongue)

Single clarinet, of cylindrical pipe, without holes. Thick “moriche” palm pipe, with a triangular surface and the topmost edge covered with black beeswax, forming the narrow mouthpiece. In the lower extreme, it has an embedded small cylinder of wood with a perforated channel on the two thirds of its lower length over which is a long palm tongue, tied with a “moriche” fiber to the lower extreme of the cylinder. This tongue juts past the covered area and re-covered and joined by wax to the lower extreme of the thick pipe. The sound produced by blowing causes the internal tongue to vibrate. It is considered a sacred instrument that is used only in the dance of the propitiatory ceremony of the “Najanamu,” after which it is destroyed.

Mina

DrumsMeasures approximately 2 meters long, and is played above a pitchfork for support, in a diagonal position with respect to the floor. The player stands before the instrument’s mouth and strikes it with two sticks, improvising on a rhythmic base

given. The body is also struck with two or three pairs of laurels, which complete the rhythmic base.

Curbata

Measures a little less than one meter and is placed on the ground for support in a vertical position. It is struck with two sticks and maintains the rhythmic base of the sounds. These drums are always played together and they accompany the song and dance carried out during the celebration of the San Juan Festival.

Rounds o “Culo’e Puya” (Membranophone, blow, direct)

Tubular, cylindrical, two membranes. In play, tied by rope, with tight ligatures. Cylindrical wooden body with deer patches; between each are threaded cotton ties that are W-shaped, that are strained with cords of the same crossed material horizontally. The interior of the pipe is dug in the shape of an hourglass, with an opening in the middle that allows a good tone. It is played placing the lowermost portion of the drum on the ground. The musician places the instrument between his legs almost as if mounting a horse, and he strikes it with the hand and a stick. The names of this instrument vary according to the locality and they are played in trios: 1.- Prima, Corrí’o, Quitimba, Hembra o Bordón, of smaller diameter, maintains the rhythmic base of the assembly, sharp sound. 2.- Cruza’o or Medio. Medium size. Its rhythm crossed with regard to the Prima, medium sound. 3.- Puja’o, Macho o Grande. It is the largest one of the three. Rhythmically part of a determined base and is constantly improvised, low sound. They are used always to accompany song and dance, chiefly during the San Juan festival celebration.

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National Emblems

The Flag

Venezuelan FlagModified for the last time March 12, 2006, with the addition of the eighth star, the flag of the Bolivarian Republic of Venezuela contains three horizontal stripes of equal size. The colors of the stripes are the yellow, blue and red. The yellow represents the wealth of the Venezuelan soil; the blue the vast sea that bathes the Venezuelan coasts; and the red the blood our ancestors spilled during the War of Independence.

Centered within the blue stripe are eight, five-pointed, white stars in the shape of an arc, which represent the eight provinces that originally formed the General Headquarters of Venezuela, upon declaring the independence July 5, 1811. The Coat of Arms is found in the upper-left corner of the flag.

Coat of Arms

Coat of ArmsThe Coat of Arms of the Bolivarian Republic of Venezuela has the colors of the national flag, presented in three quadrants. According to the National Flag Law, the national anthem and Coat of Arms of the Bolivarian Republic of Venezuela of March 9, 2006, each quadrant has the following characteristics:

The left quadrant is red and contains the image of a cornfield, with as many ears of corn as states that the Bolivarian Republic of Venezuela has, as a symbol of the union and wealth of the nation.

The right quadrant is yellow. It is an emblem of triumph, and displays a sword, a lasso, and bow and arrow inside a quiver, a machete and two national flags intertwined by a crown of laurel.

The third quarters is blue and occupies the lower part of the shield. In it is an untamed white horse, galloping toward the left and facing forward, emblem of independence and liberty. For this reason, the figure of the horse within the shield of the Confederacy was adopted, dated July 29, 1863.

The Coat of Arms has a bell; as a symbol of abundance it also has two cornucopias intertwined in the middle portion, arranged horizontally, full of fruits and tropical flowers; and in its lateral parts the figures of an olive branch to the left and a palm to the right, joined by the lower part of the Coat of Arms with a tricolored ribbon displaying the national colors. The blue part of the tape carries the following inscriptions in gold lettering: To the left “April 19, 1810,” “Independence”; to the right, “February 20, 1859, Confederacy”; and in the center “Bolivarian Republic of Venezuela.”

National Anthem

Glory to the brave people
which shook off the yoke,
the Law respecting
virtue and honor.
“Down with the chains!”
Cried out the Lord;
and the poor man in his hovel
for freedom implored.
Upon this holy name
trembled in fear
the vile selfishness
that had once triumphed.

Let’s cry out aloud:
Down with oppression!
Faithful countrymen, your strength
lies in your unity;
and from the heavens
the supreme Creator
breathed a sublime spirit
into the nation.

United by bonds
made by heaven,
all America exists
as a Nation;
and if tyranny
raises its voice,

follow the example
given by Caracas.

Lyrics: Vicente Salias
Music: Juan José Landaeta

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Handicraft

  • With the Bolivarian Revolution and the 1999 Constitution, a new phase for the craft sector begins. The management of the National Directory of Craftsmanship assumes the role with the process of changes that the country experiences and with the new form of conduct of the State. Among their achievements:
  • The conception of craftsmanship in three dimensions is assumed: ARTISAN, like the creator and builder of Venezuelan culture; CRAFT ACTIVITY, on both sides: as a process in which they apply techniques and traditional craft practices and contemporary; and as productive process that provides means of life for the artisan; and the CRAFT PRODUCT, expression of identity and of the local regional, national, and indigenous culture. This concept is accompanied by the orientation of policies directed to attend the entire process that is given to the craft activity, that is to say, to attend the entire production line and commercialization, from the phase of obtaining the raw materials to the sale of the finished craft product.
  • Priority is given, in the first moments, to the commercialization of crafts, for the purpose of revitalizing the craft production and to open it to the possibility of better living conditions for the artisan. Thus is generated a program labeled as the “Strengthening of the Image of the Craft in the National Environment, in Inter-institutional Coordination,” that solidifies the assembly of Craft “Expoventas” (sale expos) in the framework of events of State agencies and businesses.
  • This is who the concept of Wheels of Business presents itself (with Colombia and Argentina), in very diverse spaces such as those of Petroleum of Venezuela (PDVSA), National Experimental University of the Armed Forces (UNEFA), in book fairs that are carried out in the Los Caobos Park, just to name a few.
  • Likewise, the craft has been placed in various areas of exposition, such as in Presidential Summits, G15 meetings, among others.
  • It has been incorporated into inter-institutional management to achieve agreements for the benefit of the sector and propose the execution of a “Strategic Integral Diagnostic of the Craft Activity” that involves the first “Census and National Registration of Artisans and Native Artisans,” initiated April 2004, and expected to be finalized in September of the same year.
  • An Artisan Professionalization Program is prepared, directed to the Enterprising Artisan Formation, to the training of conducive craft techniques for the improvement of the quality and the increase of production volumes, and to the environmental, associative, union, and civic sensitizing of the artisan.

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State Foundation for the National System of Youth and Children Orchestra (FESNOJ)

Venezuelan Symplhony OrchestraThe State Foundation for the National System of Youth and Children Orchestra (FESNOJ) is a social work of the Venezuelan State founded by the Maestro José Antonio Abreu, for the systematization of the instruction and the collective practice of music through the symphony orchestra and the chorus as instruments of social organization and common development.

Mission
Constituting a social work of the consecrated Venezuelan State to the pedagogical rescue—and occupational—of infancy and youth, by means of the instruction and the collective practice of music, dedicated to the training, prevention and recovery of the most vulnerable groups of the country, so much by its ethereal characteristic as by its socioeconomic situation.

To obtain more information, visit the FESNOJ

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Ministry, Museums and Other Institutions

Ministry of the People’s Power for Culture

The Ministry of People´s Power for Culture is the body of the National Executive responsible for generating and projecting the features and the cultural policies of the State that contribute to Human Development in an integral way, to the preservation and knowledge of the tangible and intangible cultural heritage of the nation, and the nurturing and promotion of the cultural expressions of the country, as substantive elements and determinants for The Cultural Heritage and the deepening of the sense of national identity, like expressions of the ideology of a worthy and integral life.
Likewise, the Department has created a series of cultural platforms, such as the Cultural Community Network, to facilitate the access to culture to all the sectors of the population.

To learn more about Venezuelan culture, please visit the Ministry of People´s Power for Culture

Museums and Other Institutions

Venezuela enjoys on a great variety of museums, halls and institutions whose purpose is to develop, promote and conserve the artistic heritage of the country. Some of these cultural spaces are:

National Art Gallery

The mission of the National Art Gallery is to safeguard the national plastic heritage through the investigation, collection, conservation, promotion and diffusion of the visual arts of Venezuela of every time period, as well as the work of creators connected with the artistic reality of Venezuela, to strengthen the identity and citizenship and to contribute to the stable cultural development of society. Additionally, product of the renewed spirit of the international museology, the National Art Gallery advances actions that allow it to be projected as an integrative arts center that, circling around the central nucleus of its mission, make it possible for the gallery to be a greater link between groups, communities and individualities sensitive to the culture in general and to the constant construction of a national cultural identity. From this point of view, the public of the institution moves to integrate this as part of its important mission.

Museum of Colonial Art

The Museum of Colonial Art of Caracas is the institution that houses one of the best and most valuable collections preserved of colonial in the country.

Institute of Cultural Heritage

The Institute of the Cultural Heritage (CPI), created by the Cultural Heritage Protection and Defense Law, (G.O. N° 4,623 of 03-09-1993), is the principal organ of national character in matters of cultural heritage and as such, is the one that establishes the policies that should govern the management of all those matters that constitute fundamental elements of our national identity. It is part of the Ministry of Culture whose headquarters are in the Saint Inés Village, a national historic monument.

To access the complete list of museums, halls and cultural institutions, visit the Foundation of National Museums

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