Striped, rectangular, woven wool poncho with a neck slit in the centre. Constructed of two rectangular panels sewn together in the middle. Weave texture is tight and un-patterned, with decoration consisting of a series of horizontal lines of varying widths in dark red, dark blue, black, orange, light beige, dark brown, yellow-brown, and light brown. The outer edge is a separately woven strip with red, orange, and light brown stripes, stitched on with light beige and red string. The edge has a short, uneven fringe made of red, orange, brown, and light beige fibres. Corners are rounded by folding back.

Slit gong with beater sealed inside a plastic bag; bag is secured shut with a paper manufacturer's label stapled over the opening. Gong has a cylindrical body with protruding triangular handles on either side; three triangular cutouts along top edge of handles. All sides of gong, close to top edge, are decorated with a zigzag; design is burned(?) into surface. Wide "I"-shaped slit runs through top centre of gong; two circular and vertical line designs burned(?) on either side of slit. Long cylindrical beater extends from middle of slit at an angle; beater is undecorated and adhered to gong. Yellow card is inserted into bag, behind gong and beater, with scene of person playing the gong; paragraph of text describes making of gong, and meaning of decorative marks.

A small knitted cap (chullu) made of handspun and dyed fibre, probably sheep’s wool. Birds and geometric designs.

A pair of protective sleeves (mangas, maquitas) knitted in hand-spun sheep’s wool, including undyed (black and white) and colours dyed with aniline dyes. Geometric designs predominate, plus figurative foxes.

Wasa watana (hair tie). A braided hair tie made in the combined techniques of oblique interlacing (brown threads) and oblique twining (white and red). One end of the hair tie has a tassel made of 3 bands (1 intersecting warp), but the main band just above the other tassel is broken and sewn back together. The other end of the hair tie has a tassel made of 4 bands (1 intersecting warp and one sewn on band).

Wasa watana (hair tie). A hair tie that is made in a mixture of techniques: oblique interlaced bands with zigzag embroidery for the main band and woven bands made in complementary warp weave that intersect with the main band. Each end has two intersecting bands, and two of those also have intersecting bands. Each end has three tassels made of three bands. Most of the secondary intersecting bands are braided. Combination of techniques used: braiding, weaving and embroidery.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding intersecting warps that are woven as separate bands. Warp fringes. Each end has one intersecting warp band, which makes a tassel with three woven bands. Alpaca and sheep’s wool, finely spun.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by intersecting warps that are woven as separate bands. The added bands also have intersecting warps that are woven, but the two ends do not have identical numbers of bands. Warp fringes. Alpaca and sheep’s wool fibre. Spinning is fine and hard twist.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by adding a single intersecting warp band to each end. Small white and silver beads, threaded on the weft before weaving, line the edges of the main band and the intersecting warp bands. Warp fringes. Woven of commercially spun yarn, probably synthetic or a blend.

Wasa watana (hair tie) woven in a complementary warp weave. Tassels formed by intersecting warps that are woven as separate bands. Warp fringes. Alpaca and sheep’s wool, very finely spun. Each end has 4 intersecting warp bands.