Abstract
The visual poetry of Jose Luis Ayala in Poesía para videntes (1988) represents the assimilation of two cultures, western and indigenous, which together with the configuration of the strophic forms transgresses the Peruvian avant-garde as it was known at that time with Oquendo de Amat. In this way, with his influences in the Orkopata Group, Ayala masters indigenous poetics and disseminates it through a standard language so that it is recognized without having the barrier of understanding. That is why this work deals with the decomposition of the poetic structures of the poem through the intercultural analysis proposed by Camilo Fernandez to fully understand the construction procedures that the poet from Puno uses.
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