Botany

Scientific name:

Other names:

Botanical description:

This plant can reach up to 2.5 meters in height, with rough bark and densely grouped cataphylls. Its stipules, which remain over time, have a fringed keel. The branches are flexible, and those bearing flowers are leafless. The leaves are elliptical, dark green, with an acute or obtuse apex, and prominent venation on the underside. They have a firm, membranous texture, with a sharply raised midrib on the upper surface.

Habitat and distribution:

Originally, this variety of coca extended from Ecuador to Bolivia and northern Argentina, mainly on the eastern slopes of the Andes, within the ecological zone known as the Yungas. Its cultivation spread to Colombia with the rise of industrial cocaine production. According to Plowman (1984), this variety may have originated in the Huallaga River valley. It prefers humid mountain habitats and is absent in hot climates.

Botanical history:

The first scientific collection of Andean coca dates back to 1749, when French botanist Joseph de Jussieu identified and drew it during his visit to Coroico in the Bolivian Yungas. This journey took place shortly after the Hispano-French Geodesic Mission to the Royal Audience of Quito in what is now Ecuador. Jussieu was part of this expedition, alongside prominent scientists such as Charles Marie de La Condamine, Louis Godin, Pierre Bouguer, Jorge Juan, and Antonio de Ulloa, who embarked on a historic mission to measure the arc of the meridian at the equator.

Despite the importance of this discovery, the coca specimen collected by Jussieu remained uncatalogued for nearly three decades in the archives of the Jardin du Roi in Paris. It wasn’t until 1786 that Jean-Baptiste Lamarck, one of the most influential naturalists of his time, formally described it as a new species under the name Erythroxylum coca Lam. This specimen became the type specimen for the species, marking a crucial milestone in the botany of this plant family. Today, this specimen, along with its duplicates (isotypes), is preserved in the herbarium of the Muséum National d’Histoire Naturelle in Paris, France, where it continues to be a testament to the early scientific studies on coca.

Forms of use:

The leaves are first dried, either in the sun or using an artificial method. During this process, it is crucial to prevent excess moisture from causing fermentation in the leaves, which could alter their aroma, taste, and composition. The traditional method of consuming this variety in Peru and Bolivia (known as coqueo or acullico) is similar to the one used for Colombian coca and Trujillo coca. It consists of placing a few leaves in the mouth and keeping them in the cheeks, where they are moistened and partially broken down until they form a homogeneous mass. The alkaline element added periodically during the chewing of this mass is lime, obtained by calcining fragments of limestone rocks, which is then cooled and sometimes combined with ashes from other plants. These additives soften the strong alkaline flavor of the lime, and in some cases, enhance the extraction of the alkaloid. Among the most common ashes are those from quinoa (Chenopodium quinoa), kjoka (Lepechinia meyenii), some succulents like cacti, and other aromatic plants. This mixture is known as llipta.

    logo-khoka_1

    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.