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MUSEUM

150 years on, who owns circus man’s scalp?

A German museum has agreed to conduct research on a mid-19th century scalp after being caught in a dispute with a Native American tribe which claims to be the rightful owner.

150 years on, who owns circus man's scalp?
A portrait of German author Karl May is displayed in the German Historical Museum in Berlin, 2008. Photo: DPA

Scientists from the Karl May Museum in Radebeul, near Dresden will work "in close cooperation" with members of the Sault Ste. Marie Tribe of Chippewa Indians, who say the scalp came from a mid-19th century member of the Ojibwa tribe.

"In respect for the collective feelings of the Chippewa Indians, we are going to conduct our joint research work on the scalp with the highest possible scientific accuracy," said museum director Claudia Kaulfuss.

The private museum opened in 1928 and is dedicated to the works of popular German adventure writer Karl May and to the cultural heritage of American Indians.

The museum acquired most of its 17-scalp collection from a friend of May's. Ernst Tobis, known more commonly as Patty Frank (his stage name). Frank was a traveling Austrian circus artist who collected items from American Indian culture and co-founded the museum with May's widow, Clara.

Myth or reality?

Cecil Pavlat, the repatriation specialist of the Sault Ste. Marie Tribe of Chippewa Indians in Michigan, bases his claim on a caption for a photo of the scalp in a story written by Frank which was published in a book in 1929.

It has not yet been verified who wrote the photo caption, a spokeswoman for the museum Anne Barnitzke told AFP.

"Therefore it's not really clear if the story he tells is real," she said

In the story, Frank writes about how he acquired his first scalp, originally belonging to a chief of the Ojibwa tribe, in exchange for 100 dollars and three bottles of liquor.

But Pavlat stands firm.

"These are human remains which should be buried respectfully and should never have been taken from the tribe in the first place," he told The Guardian in March.

Museum director Kaulfuss stresses that they do not seek to misrepresent a piece of Native American history and that the exact tribes to which the scalps belonged to is not yet clear.

"We're a museum in Germany, subject to German law, and we'd like to explain why we want to show a piece of history" she told the Deutsche Welle.  

"They can't just expect us to hand something over without talking to anyone about it first, because then more people might come and soon our museum would be empty" she added.

Claims of repatriation in Germany are not as uncommon as one might think.

In 2011 Germany handed back 20 skulls that were from Namibian tribal leaders, government officials and descendants of Herero and Nama victims massacred by German imperial troops.

And in 2013 a German hospital said it had handed over remains from 33 Aborigines to Australian representatives to be returned for burial.

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old toldĀ AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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