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All Indigenous Americas

Coca Bag from Bolivia

Bag; Bolivia, dept. La Paz, prov. Pacajes, Achiri area; 20th century. Wool; warp-faced plain weave and complementary warp weave; 15 x 15 cm. The Textile Museum Collection 1985.27.29. Meadowcroft Bolivian Textile Collection.

This small bag, a “huallqepo,” was made to hold coca leaves — an integral part of daily life for the Aymara people on Bolivia’s highland plateau since pre-Hispanic times. Chewed as a stimulant, coca leaves counteract the effects of oxygen-thin high altitudes and feature in ceremonies marking life passages and as offerings to mountain deities or “waka” and Mother Earth.

“Aymara Indians,” c. 1890-1892. Oil on canvas, 59 x 42 cm. Smithsonian American Art Museum 1985.66.164.627. CC0.

The huallqepo’s form makes it functional while leaving room for creative design. The fiber often comes from domesticated alpacas or llamas and is spun with a drop spindle, then double-plied by spinning in the opposite direction. By the late 19th century, aniline dyes imported from Europe began replacing natural dyes to create colors and patterns that differed from one community to another. This bag, missing its strap, includes solid stripe yarns dyed in red, green and lavender (most likely aniline dyes), and undyed yarn in pattern stripes.

In Bolivia, coca bags and other small weavings are made on portable backstrap looms. The S-patterned stripes on this bag were made using a complementary warp weave with different colored yarn pairs warped together. During the weaving process, one of the colored yarns created the pattern on the front while the other created a mirrored pattern on the back, resulting in a two-faced cloth.

Traditionally produced coca bags are still created and used in local communities. They are also increasingly sold to tourists through weaving cooperatives alongside mass-manufactured bags in tourist markets.

Researched by Marcy Wasilewski

Marcy Wasilewski grew up surrounded by textiles in a family of tailors. She has a master’s degree in museum education from the George Washington University. Her early museum career was followed by a long career in healthcare administration. She returned to the museum world as a docent in 2014.