Jacket with a cardboard mould which defines the body and a wide bell-shaped waist. The whole piece is covered with a fabric with vegetal motifs in silver thread upon which other motifs such as suns, masculine faces and flowers have been embroidered. The borders of the front opening and the red velvet sleeves are finished with a pleated golden plastic strip. The lower part of the jacket is finished with beaded tassels. It has a blue chiffon cape that covers the shoulders. This jacket is part of the typical attire for the dance known as “La Morenada”. In “Dioses y demonios: manifestaciones de la religiosidad popular en América del sur. Colecciones del Museo de América” (2004), Ana Azor Lacasta says the groups of Morenos dance out of their devotion to the Virgin and to the saints in the festivities that commemorate them. Although they can be seen in some places in Peru like Puno, they are typical of the popular festivities of the Bolivian Highlands. They participate in the Oruro Carnival in honour of the Virgen del Socavon, in the Festival of the Great Power, in La Paz which has commemorated the second person of the Holy Trinity since 1938, and in numerous religious celebrations. The word moreno (dark) is a euphemism for black in the Andes region. Even though the number of black slaves taken to Bolivia was scarce, there were African communities that settled in the valleys of La Paz (Yungas) where their descendants still live. In Fiesta Boliviana (2001), Boero Rojo shows that, until recently, there was still a black king parading in the “Los Morenos” carnival. That is to say, a real chief of the black community and recognised as such (nowadays it is only a man dressed as king). Surrounded by his vassals, these not only recognised his rank, but they also bestowed him with honours. The king presented himself with a real gold crown and sceptre with precious stones, a cape embroidered with gold thread and attire similar to the one used by the current Morenada.