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Other names:
Botanical description:
This plant can reach up to 2 meters in height, with rough bark and sparse cataphylls. The stipules persist over time and have a fringed keel. The branches are rigid, and those bearing flowers may or may not have leaves. The broadly elliptical leaves are dark green with an obtuse apex and faint or absent venation lines. Their texture is firmly membranous, with a sharply raised midrib on the upper surface.
Habitat and distribution:
This variety, native to the tropical rainforest, thrives in more humid and warmer environments than its relative, the Huánuco coca. It is cultivated in small plots (“chagras”) by indigenous peoples of the Amazon along the Amazon River and its major tributaries, all the way to its mouth. It can be found in the jungle regions of Colombia, Brazil, and Peru. In Peru, it is believed to still be cultivated by groups inhabiting the lowlands of the Andean-Amazon frontier.
Botanical history:
Of all the cultivated coca varieties, this was the last to be formally recognized by Western science. Although Amazonian explorer and botanist Richard Spruce collected a coca sample in 1851 from a tributary of the Rio Negro in Brazil, recording its vernacular name “ipadú,” it was initially believed that this variant was identical to that cultivated on the island of Java (E. novogranatense). Botanist Burck mistakenly assigned the name E. coca var. spruceanum to Spruce’s sample, along with material from Java that actually belonged to E. novogranatense. This identification error, combined with the fact that the reference material was grown in Asia, delayed the formal description of Amazonian coca. It was Timothy Plowman who, in 1980, formally described this variety, recognizing its distinctive morphological characteristics, habitat, cultivation method, and use.
Forms of use:
The preparation method for this variety differs slightly due to the specific conditions of the region. The leaves, larger and softer than those of other varieties, are dried in the open air or under shelters that protect them from direct sunlight, preventing fermentation and preserving their integrity. Unlike other regions, in the Amazon, coca leaves are not chewed in their dry form. Instead, they are ground or pounded into a fine powder known as mambe, which is placed directly into the mouth. This powder is mixed with alkaline ashes, mainly obtained from species like the yarumo (Cecropia sp.), which facilitate the release of the alkaloids in the leaves. These mixtures provide a distinctive taste that, besides softening the alkalinity, gives a unique character to the traditional consumption of coca in the Amazon region.
KHOKA PROJECT
LISTA DE COLABORADORES
Dirección: Susana Mejía Villa
Antropólogo: Jairo Upegui
Investigación | Producción: Daniel Montoya
Consultora de Arte: María Wills
Asistente de Investigación: Marcelo Pérez
Gestión de imágenes | Licencias: Margarita Rada
Videografía: Sara Nanclares
Fotografía | Registro en campo: Susana Mejía, Daniel Montoya y Jorge Montoya
Diseño arquitectónico: Pascual Celis
Ilustración | Diseño gráfico: Lina Rada
Edición de imágenes | Fotografía de estudio y plantas: Elisa Echavarría
Monotipos: Ángela Restrepo
Visualización de archivo: Santiago Ortiz
Químico investigador: Luis Miguel Arana
Visualización química: Anderson Exlonk Gil
Asesor botánico: Orlando Adolfo Jara
Jardinería | Herbario: Sara Aristizábal
Jardinería | Servicios Generales: Elvis Peña
Diseño Web: Daniel Pulgarín, Angélica Gómez
Diseño sonoro: Pablo Melo
Proyecto “Comunidades”: Inspiralab
AGRADECIMIENTOS
Emma Velásquez, Rafael Mejía, Clemencia Villa, Luis Carlos Mejía, Pedro Mejía, Jairo Upegui, Eduardo Arango, Daniel Montoya, Elvis Peña, Dawson White, Wade Davis, Anthony Henman, Paul Gootenberg, Christopher McCurdy, Pascual Celis, Natalia Celis, Ángela Restrepo, Julián Posada, Ignacio Piedrahita, Álvaro Cogollo, Norberto López, Silvia Restrepo, Sdenka Silva, Jorge Montoya, Danilo Villafaña, Dora Troyano, Baldomero Cáceres, María Wills, Nicolás Wills, Juan Camilo Miranda, Korina Perdomo, Sara Nanclares, Vanessa Ramírez, Sandra González, Daniela Ospina, Daniel Pulgarín, Pablo Melo, Roberto Sierra, Inspira Lab, Mottif, Taller Talante, Mesa Estándar, Buen Vestir.
Jardín Botánico de Medellín, Colección Banco de la República de Colombia, Met Lab Universidad de los Andes, Empresa Nacional de la Coca del Perú, Patrimonio Filmico Colombiano, Biblioteca Ludlow – Santo Domingo y Dumbarton Oaks Museum de Harvard University, Kew Royal Botanic Gardens, Muséum national d’Histoire naturelle de Paris, Smithsonian National Museum of Natural History, Field Museum, The Royal Danish Library, Missouri Botanical Garden, Museo Larco, Museo Casa del Alabado, MALI, Museo de América, Colección Presley Norton, Bibliotheque nationale de France BnF, New York Botanical Garden, New York Public Library, John Carter Brown Library, Real Jardín Botánico de Madrid, The LuEsther T. Mertz Library, Natural History Museum Library, Universitäts- und Landesbibliothek Dü sseldorf, Wellcome Collection, The Museum of Fine Arts Houston, The Cleveland Museum of Art, The Cleveland Museum of Art, Museo Antropológico y de Arte Contemporáneo MAAC.