From ethnography and visual material collected from the Kakataibo group of the Peruvian Amazon, long considered by its neighbours as “without culture” Indians, the main issue here was to highlight the performance dimension of heritage processes. This performance is deployed on two planes: the artistic creation, and the relational one. By analysing certain sequences of the documentary film produced by TV Peru, Hombres y mujeres de hierro, as well as the video that the Kakataibo recorded with my help, whose aim was to give to see their culture known as ancestral, we can see how much these film productions are not mere showcases of their culture, but rather creative acts that generate it. The Kakataibo example is particularly revealing because it allows to capture the process of enculturation, in its political, creative and identity dimensions, of a group that was still on the margins of the country’s ethnic stage. The spectacular, ecological, exotic and spiritual culture that emerges is thus the result of the creativity of the Kakataibo and agents outside the community who, like the CIMA, give impetus to cultural projects. This relationship is indeed fundamental. The documentary film reveals not only the Kakataibo culture defined and represented in light of the demands of UNESCO and the tourism industry, but also a huge network of institutions with which the Kakataibo have been able to build links through artistic creations: NGOs, regional government, the Ministry of Culture, the Catholic University of Lima, etc. In addition to these already established institutional reports, ethnography also highlights a new relationship-based scheme designed by the Kakataibo to interact with white people. It is a relationship between actors and spectators captivated by the beauty of Kakataibo culture directed and video. The latter report, due to the lack of tourists in the region, remains imaginary and virtual, which only increases the issues related to video recordings of cultural performance. These “bait images” must not only convince the foreign viewer of Kakataibo cultural wealth, but above all act on him by attracting him to himself.