Globe

24.000 objects from all regions of the world

Ethnology today: a specialist discipline takes a critical look at its own history and defines new ways of dealing with historical and colonial collections.

The ethnological collection consists of a total of over 1200 individual bundles that were donated to the collection by over 700 individuals, some as individual items, others as very extensive collections. It is therefore heterogeneous, both in terms of the regional origin of the objects as well as their meaning, use, function, materiality, time of manufacture and state of preservation. All objects are connected by the fact that collectors have classified them as belonging to a culture that is perceived as foreign. Any order or categorization is difficult because it is based on criteria that were applied to the cultural objects from outside. They do not do justice to the objects in their uniqueness and complexity - they are everyday objects, religious objects, prestige objects, works of art, weapons or souvenirs, and often many of these at the same time, depending on the angle from which they are viewed or the relationship between the person viewing them stands by them. One of the most important functions of ethnological collections can therefore be to open the viewer's gaze to new perspectives.

More

examples from the collection

Grave wreath Peki, Ghana, 2018, plastic, made by Belinda Dei; purchased from Isabel Bredenbröker in Peki, Ghana, 2018; Donation from Isabel Bredenbröker, 2022, inv. no. ET22941

At funerals in Peki, Ghana, synthetic fabrics and packaging combined with items from local craft traditions convey respect for the dead, moral propriety, and longevity in the afterlife. Grave wreaths wrapped in glittering foil are placed at the grave, which women like Belinda Dei artfully make from cellophane and gift ribbons. It's not for nothing that they say plastic is "immortal." During her research on practices surrounding death in Peki in 2018, the social and cultural anthropologist Isabel Bredenbröker learned from an undertaker how to appropriately lay the dead to rest and what criteria should be used to decorate new graves sustainably and appropriately. Objects and materiality played a central role. The ethnological collection also houses objects made from synthetic materials that are produced and circulated in global trade contexts and acquired in recent research, such as this grave wreath.

Manufacturer Belinda Dei and social and cultural anthropologist Isabel Bredenbröker in a sales pitch for the grave wreath, Peki, Ghana, 2018. Unprocessed film material from “Now I Am Dead”, digital film by Phila Bergmann and Isabel Bredenbröker, 2019.

 

Hixkaryana, Brazil, before 1980, plant fiber (cotton, tucum (Astrocaryum vulgare) and paxiuba palm (Iriartea exorrhiza)), feathers (scarlet macaw (Ara macao)), bones (monkey), purchase FUNAI (Fundação Nacional do Índio) 1980; Purchased by Hans Becher in 1980, inv. no. ET13352

With 1470 objects, the Brazil collection forms a regional focus of the ethnological collection. Some pieces came into the collection in the second half of the 19th century (including via Koch-Grünberg), but the largest part of the Brazil collection goes back to the ethnologist and Americanist Hans Becher, who worked as a curator at the State Museum from 1961 to 1983. During several research trips in 1955/56, 1966, 1970 and 1980, Hans Becher acquired objects from various Yanomami groups in the central Rio Negro region of Brazil. He expanded this collection through purchases, for example from Franciscan priests who were missionaries in Brazil. Becher practiced a paternalistic, rescue anthropological approach that advocated shielding indigenous groups from external influence and at the same time protecting their material culture from supposed disappearance by accumulating it in museum collections, and thus came under criticism within the professional society.

Keychain, China, before 1885, brass, gift of Meyer, inv. no. ET 1557 ae

This keychain was donated to the collection by a person documented as “Engineer Meyer.” As an engineer, Meyer was interested in the structure and functioning of systems, and he produced detailed, true-to-scale technical drawings that are preserved in the ethnological collection. In 1881 he documented in Deli the structure and function of a spring lock, which he called a “Chinese padlock”. Such locks are used like padlocks. The ethnological collection contains numerous models, illustrative objects and production series. They document an interest in how things are made, constructed and work internally. Today you can show us what technical knowledge and skills people have mastered and applied.

Sketch by engineer Meyer of the structure and function of the castle

Hood for eagles, Przěwalsk, Kyrgyzstan, Central Asia, before 1900, leather, purchased from Georg von Almácy (also György Almásy), 1925, inv. no. ET6655

The large area of ​​Central Asia is known for a special human-animal relationship: hunting. People use specially trained birds of prey to hunt wild animals. Successful hunting birds, especially eagles, are valuable and valued. If necessary, the birds are immobilized with hoods placed over their heads and covering their eyes. The hoods are individually adapted to each bird. Birds initially react in panic and have to learn to tolerate the hood. The hoods are therefore criticized in terms of animal protection. George of Almácy traveled to Central Asia and Kyrgyzstan as an ornithologist. In July 1900 he visited Przěwalsk (now Karakol), where he came into possession of this hood. In October of the same year he studied the bait hunt in detail. Like this hood, numerous objects in the collection document the diverse connections between people and animals: mutual dependencies, appreciation, utilization and subjugation.

Research documentation Godula Kosack Mafa, Cameroon, 1981-2017, various materials (object collection, notebooks, audio and mini-DV cassettes, photo prints, slides), gift from Godula Kosack, 2017, inv. no. ET 21401, ET 21393, ET 21396

The German ethnologist Godula Kosack worked in Northern Cameroon for several years since 1981 with and about Mafa who lived there. She was particularly interested in women's lives as well as religious practices and worldviews. Godula Kosack documented her experiences and findings in notebooks as well as in photos, films and audio recordings, which she handed over to the State Museum in 2017 along with an extensive collection of objects. Godula Kosack later published several books in which she processed the data obtained during the research. However, the original research documents document many aspects, details and backgrounds that go far beyond the published information and provide a deeper insight into the research situation and the lives of the people involved.

Building construction and baskets, Northern Cameroon, undated

Mafa basket weaver, Northern Cameroon, 2000

Chitenje (printed cotton fabric), Malawi, 1986, cotton, dye, produced at Whitex Fabrics, 1986; owned by Lore Henkel; inherited to Silvia Hesse, 2018; Donation from Silvia Hesse, 2019, inv. no. ET 22041

Printed cotton fabrics are used in numerous ways across the African continent: entire panels are worn as clothing using artful wrapping and knotting techniques, they are made into garments, and they are used as blankets, shawls, and tablecloths. They come in countless patterns and designs and special commemorative fabrics are often designed to mark important social and political events. In Malawi, these fabrics are called chitenje and are produced, among others, by Mapeto DWSM Ltd in Blantyre. This example was designed at Whitex Fabrics on the occasion of the inauguration of the community center in Blantyre in 1986 and from there brought to Hanover by Lore Henkel. Lore Henkel was committed to the connections between Hanover and Blantyre throughout her life and contributed significantly to the establishment of the twin town partnership in 1968. Like this Chitenje, other objects in the collection also bear witness to the travels and connections of Hanoverian citizens in the world.

»Picturesque New Britain. Selected Photographs of a Delightful Country and its Very Interesting People" by John H. Margetts, Rabaul (?), after 1900, album with 101 black and white prints on albumen paper, undocumented object receipt

This album with 101 photo prints shows, as the title suggests, landscapes and people from the island of New Britain, which is now part of Papua New Guinea. John Harold Margetts, an English-born Methodist missionary, was stationed in what was then German New Guinea from 1913. It invites you to take a walk around the island: In addition to houses, paths, beaches, plantations, forest areas and rivers, it shows dance groups, important masks as well as masked dancers and musicians with an ethnographic view. Other recordings show people doing various activities, such as laying a roof, and provide insight into scenes of mission life. In his photographs, Margetts stages an imagined world of life: paradisiacal landscapes in which people practice a life that is ethnologically interesting but can be civilized through missions and colonial administration. A story that tells more about the author and his audience than about the reality of life of the person portrayed.

»Ceilings of the roof«

"A new church"

»'DukDuk' Parade«

Repaired porcelain jug, Pakistan, before 1973, porcelain, polychrome painting, brass, aluminum, cotton, putty, probably made in the Gardener factory, Verbliki near Moscow; purchased by Hans-Hermann Schmitz in Chitrāl, northern Pakistan, 1973; Donation from Hans-Hermann Schmitz, 2017, inv. no. ET22250

This small pot with colorful, floral patterns stands out because of the repairs made to it. When the delicate porcelain broke, a professional porcelain repairer took care of the damaged piece. Holes were carefully drilled into the individual fragments and metal clamps were inserted to hold the shards together. The joints were then spread with putty to seal the vessel. This technique was already used in China in the 17th century and was previously also practiced in Europe. The profession of crockery mender is now practiced in Afghanistan and neighboring countries. This jug shows the great appreciation for objects of everyday use and the care and artistry that goes into their preservation. With this pot we can not only see that there is hardly any widespread knowledge of this great art of repair today, but we can also be inspired to think about preservation and recycling.

Yatağan, Turkey, 1780, Damascus steel, silver, horn, purchased from Jens Dieter Becker-Platen, Turkey, 1965/1966; inherited to Jens Becker-Platen, gift from Jens Becker-Platen 2009, inv. no. ET 20021

The municipality of Yatağan in southwest Turkey is known for its blacksmithing, particularly the curved swords of the same name. The place name may go back to the blacksmith Yatağan Baba, whose grave is a tourist attraction there. Yatağan are associated with the Janissaries, an elite unit of the Ottoman army. Typically, inscribed inscriptions are incorporated into the blades, usually quotes from the Qur'an or proverbs, as well as the name of the master craftsman or owner and the year of manufacture. The year 1194 (approx. 1780 AD) can be found on the blade of this Yatağan. In addition, eight names can be read that refer to the legend Ashâb-ı Kehf (Seven Sleepers), which is known in both Islam and Christianity. The former owner of this Yatağan is also named with the addition “Sahip ve Malik Abdullah Ağa”. The ethnological collection includes, compared to other types of objects, a relatively large number of weapons, which shows a great collector's interest in blacksmithing and warfare.

 

good to know

exhibitions

Large parts of our ethnological collection are in our permanent exhibition »HumanWorlds« to see. One of the major ethnological special exhibitions of recent years is the show “Tricky Heritage. Colonial traces up to the present” (2017).

We regularly show smaller cabinet exhibitions on ethnological topics in the Change worlds (Dead live longer (2021/22) | Whispers on the shelves (2022) | Change of perspective (2022/23) | Spoils of war from China (2023))

You can find a complete list of all ethnological exhibitions (1902 – 2020). here for download.

Lower Saxony cultural heritage portal

The Lower Saxony cultural heritage portal is a joint internet offering by libraries, archives and museums in the state of Lower Saxony. Large parts of our ethnological collection are accessible digitally.

paese

The Lower Saxony joint project PAESE was funded by the Volkswagen Foundation in 2018-22 and researched the origins of selected holdings in the five largest ethnographic collections in Lower Saxony together with representatives from regions of origin. The PAESE database served the transparent documentation of the bundles researched in the PAESE project. It has been operated by the Provenance Research Network in Lower Saxony since 2022 and is open to all institutions in Lower Saxony.

Collection items from colonial contexts

The portal »Collections from colonial contexts« makes already digitized and indexed collections from colonial contexts available online within the existing portal of the German Digital Library (DDB).

digital Benin

On the digital platform »Digital Benin« The art treasures from the Kingdom of Benin that were stolen in the late 19th century and scattered around the world will be documented and made accessible to the general public.

ethnological society in Hanover

Since 1967, she has accompanied and supported Ethnological Society Hannover eV (EGH) as a group of friends and supporters, the activities of ethnology at the Hanover State Museum.

Heidelberg declaration

The so-called “Heidelberg Declaration” is a joint statement on decolonization that was signed in 2019 by the directors of 26 ethnological museums in German-speaking countries. It is the task of the houses to ensure the greatest possible degree of transparency in dealing with the history and content of the collections. Dialogue, expertise and support are crucial for this. Read the entire statement here.

Mareike Spaeth
Ethnology | Curator
T + 49 (0) 511 98 07 - 819
mareike.spaeth @landesmuseum-hannover.de