A/HRC/45/44/Add.2 nurtured by people of African descent – and yet, nowhere are they mentioned in literature, media reports or discussions on the national mango industry. 48. In January 2020, Peru reported more than $70 million in mango exports, and an additional $10 to $15 million in canned, frozen or dried mangoes (down from over $80 million in January 2018). Such a contribution to the Peruvian economy is directly attributable to the first people of African descent in Peru, who laboured to bring, site, nurture and produce fruit from early mango trees. Most mangoes in Peru are grown in the Piura region, where, in Yapatera, the Working Group spoke with several Afro-Peruvian mango farmers who lacked the modern irrigation infrastructure necessary to cope with drought or weather irregularities. They were routinely unable to secure a fair price for their produce, which was exported at many times the price paid to it. In addition, no government support recognized their contribution to the development of a successful industry or sought to support their pursuit of additional ideas, production or creativity within it. Their ideas for products, to engage in global fair trade markets, and to stabilize production with modern practices did not gain traction inside the government, nor did their talented youth receive scholarships or other incentives to learn modern agricultural, business or other related practices. 49. The Working Group was unable to view the National Afro-Peruvian Museum, which was still closed at the time of its visit. The Museum has not been formally designated a museum, despite 12 years of intermittent operation during which it has changed location and been under different jurisdictions. Representatives of the Ministry of Culture envisioned the Museum as an important forum for convening members of civil society. 50. The Working Group was particularly concerned by the prevalence of the negative racial stereotyping of Afro-Peruvians. The Afro-Peruvian community continues to endure racial prejudice from the media, businesses and even public officials. Representatives of civil society reported that schools often witness racial stereotypes, racist jokes, insults and even violence, perpetrated with impunity, consequently normalizing racism and discrimination for future generations. Afro-Peruvians may construct their identities away from blackness to better realize certain rights. These stereotypes also feed the impunity of discrimination based on skin colour for Afro-Peruvians in public spaces outside schools. 51. Media and cultural production remain ongoing sources of racism in Peruvian society. Portrayals of people of African descent that invoke long-held racial stereotypes encourage bias. The use of blackface and racist advertising that reduce Afro-Peruvians to a negative or ancillary status are evident in the advertising of consumer products and in programming. The National Institute for the Defence of Competition and Protection of Intellectual Property and the Ministry of Transportation and Communications have demonstrated insight and discussed the implementation of robust frameworks targeting racist advertising and racism in the media, including accountability and fines for discrimination in the media, as well as affirmative campaigns with Afro-Peruvian influencers. High-profile cases have indeed been taken up by the Institute, which it has the capacity to follow over time. In addition, the Ministry of Culture has conducted joint media and social media campaigns on racial discrimination in the media. 52. Such programming nonetheless continues with impunity. The powerful influence of the media on social perception suggests that racial stereotypes are accepted uncritically, including by many Afro-Peruvians themselves, further complicating and burdening selfidentification as Afro-Peruvian. Members of the Working Group had a viewing of “Negro Mama”, a prime-time comedy sketch television programme featuring blackface that is still airing on the Frecuencia Latina network, despite its acknowledgment and apology for the programme, and a significant fine levied on the network several years ago. The main character is played by an actor who paints his face black, wears hairy black gloves and dons grotesquely large prosthetic nose and lips. The actor deliberately animates racial tropes, and uses diminutive terms for people of African descent, self-references as negrito and jokes about his little brain. In 2010, a legal case was brought alleging that the broadcasting of the character was itself a violation of the dignity of people of African descent. 53. These concepts are seen elsewhere, such as larger-than-life blackface puppets observed by the Working Group in Lima and Chincha. They were sometimes endorsed by Afro-Peruvians, authorized by similar portrayals on television. At the chic Larcomar Mall in 10