ENLACED AND INTERWOVEN FROM SOUTHERN ABYA YALA

1 VERNETZT VERSTRICKT VERWOBEN ANZIEHENDES AUS DEM SÜDLICHEN ABYA YALA

© Museum Fünf Kontinente 2020 Enlaced and Interwoven. Clothing from Southern Abya Yala

Clothing and adornment from various The origins of Latin American textile Guatemala and the Guna of and resources. However, advancements times and regions are presented in traditions predate the European invasi- represent the visualisation of changing in human rights that were achieved in this exhibition room, illustrating the on by millennia, and are closely related identities in woven and embroidered the past decades are at stake today, aesthetics and artistic diversity of indi- to Latin America’s chequered history patterns. Clothing and jewellery of the and the increasing pressure on indige- genous creativity in Latin America. At and vibrant present. A small selection Mapuche tell of lasting resistance from nous communities has assumed a level the same time they represent ways to of pre-Columbian products the time of Inca expansion to the colo- that once again threatens their exis- master the challenges posed by the en- gives an impression of their import- nial era and into the present. tence. vironment and by communal life. Clot- ance in long-ago times. The fusion hing can protect from cold and heat, of indigenous and colonial-European Many indigenous philosophers and This exhibition is intended to present it has the ability to either conceal its fashions, which at times has a tongue- activists have come to oppose the term examples allowing an impression of wearer from view or to attract glances, in-cheek undertone, is represented by “America”, which is criticized for being the diversity of “getting dressed”, and it can be either exclusive or inclusi- creations from the of and ethnocentric, with Abya Yala, “Land in of topics associated with dressing. It ve, and can indicate affiliation with a . Colourful body adornments of the its Full Maturity”, a term borrowed from was planed and realized by a team of specific group. It has also the potential Kayapó in Brazil illustrate the diversity the language of the Guna in what is student guest curators in the context of to mirror world views, power relations, of standards applied to proper clothing. today Panama. The concept of Abya Yala a seminar at the Department of Cultural and economic situations, or to make The projection of religious mindscapes is setting the direction in terms of self- Anthropology of the LMU, in coopera- historical developments and processes onto wearable covers becomes visible in determination, human rights, and the tion with the Museum Fünf Kontinente. of negotiation visible. It is subject to textiles of the Peruvian Shipibo as well multifaceted responses of indigenous change while at the same time being a as in mask costumes of the Karihona communities to the encroachment of vehicle of continuity. of Columbia. Garments of the Maya of global markets on their environments

5 Body Adornment of the Mebêngôkre (Kayapó)

The Mebêngôkre, commonly known by needs support, or permission, by others Elise Fittkau, inv. no. 10-332 945 Collector/collection: Ernst Josef and the name of Kayapó, live on the Río – and this means he or she needs to Elise Fittkau, inv. no. 10-332 987 Xingú in north-eastern Brazil. They are give something in return. In addition, ...... famous mainly for their public actions the materials used are believed to be d. Mussel-shell necklace of political protest, in which they imbued with power and attributes that Mebêngôkre/Kayapó, Río Xingú, north- often appear with body painting and become transferred to the wearer of Beaded belt eastern Brazil, 1960–1993 wearing splendid items of adornment. the adornments. The rights associated Mebêngôkre/Kayapó, Río Xingú, north- Mussel-shell fragments, palm-wood beads When colonisation began in the 19th with the adornments are thus regarded eastern Brazil, 1960–1993 Collector/collection: Ernst Josef and century they earned the reputation of as precious and as privileges. Not only Glass beads, cotton Elise Fittkau, inv. no. 10-332 991 being extremely aggressive, as they perfect craftsmanship is needed in ma- Collector/collection: Ernst Josef and were involved in many conflicts some king the adornments but also individual Elise Fittkau, inv. no. 10.333 045 e. Carrying sling of which were very bloody. Over the artistic creativity. Mekranotí, Mebêngôkre/Kayapó, Río years, they made use of that reputa- ...... Xingú, north-eastern Brazil, 1960–1993 tion in their rallies for preservation of ...... Buruti palm material, feathers, feather- the rain forests. They gained interna- a. Feather headdress quill sticks tional attention when leaders such as Xikrín, Mebêngôkre/Kayapó, Río Xingú, Collector/collection: Ernst Josef and Raoni Metukire and Paulinho Payakan Headdress, àkkàti north-eastern Brazil, before 1965 Elise Fittkau, inv. no. 10-332 012 succeeded in uniting rival indigenous The headdress with long feathers is cal- Feathers, cotton groups and launched a global campaign led “large bird skin” (àkkàti). It is made Collector: Father Protásio Frikel f. Necklace with feathers against the Altamira Dam and for pro- of wing and tail feathers, which are all Collection: Ernst Josef and Elise Fitt- Xikrín, Mebêngôkre/Kayapó, Río Xingú, tection of the rain forests in the early cut to the same length, of various spe- kau, inv. no. 10-332 932 north-eastern Brazil, before 1965 1990s. Celebrities such as pop singer cies of birds. For wearing, the feather Cotton, feathers, sticks, seeds, seed coats Sting supported them in their struggle. adornment is mounted on a horseshoe- b. Ear ornament Collector: Father Protásio Frikel Not only the Mebêngôkre gained publi- shaped support of palm-leaf ribs. It Mebêngôkre/Kayapó, Río Xingú, north- Collection: Ernst Josef and Elise Fitt- city in that process but also their body may only be worn by specific persons eastern Brazil, 1960–1993 kau, inv. no. 10-332 010 adornments, whose manufacture and on clearly defined occasions. In former Wood, feathers, mussel shells, cotton use is subject to a strict set of rules. times people would wear the head- Collector/collection: Ernst Josef and g. Ring-shaped bracelets The right to make and wear specific dresses without being entitled to do so, Elise Fittkau, inv. no. 10-332 981 a, b Xikrín, Mebêngôkre/Kayapó, Río Xingú, adornments, or to use the raw materials which gave rise to many quarrels. north-eastern Brazil, before 1965 needed to produce them, is bequeathed Mebêngôkre/Kayapó, Río Xingú, north- c. “Necktie” Cotton, parrot feathers, cotton thread in a ritual way and to various persons. eastern Brazil, 1960–1993 Mebêngôkre/Kayapó, Río Xingú, north- Collector: Father Protásio Frikel Hence, in order to gain permission to Feathers (hyacinth macaw and other birds) eastern Brazil, 1960–1993 Collection: Ernst Josef and Elise Fitt- wear a specific adornment an individual Collector/collection: Ernst Josef and Feathers, cotton kau, inv. no. 10-333 031 a, b

6 7 The objects from the Xikrín were pó, Río Xingú, north-eastern Brazil, Ear plugs are no longer very popular among acquired by Günther Protásio Frikel, a 1960–1993 Among the Mebêngôkre/Kayapó, ear young men. missionary and cultural anthropologist. Cotton thread, feather quills, Brazil nut and lip ornaments have profound Mebêngôkre/Kayapó, Río Xingú, north- In 1962 he witnessed a process of rapid shells, collector/collection: Ernst Josef symbolic meaning that arises from eastern Brazil, 1960–1993 cultural change in a Xikrín village that and Elise Fittkau, inv. no. 10-133 090 a, b their concept of listening and talking. Wood had recently come into contact with Listening is equated with the absorp- Collector/collection: Ernst Josef and neo-Brazilians. While some Xikrín wan- tion and acquisition of knowledge. Elise Fittkau, inv. no. 10-132 978 a, b ted to maintain their distance, others Lip ornament This means that those who have heard adapted culturally to Brazilian society. The toucan beak is an ornamental something are people who have learned ...... This caused discord and led to splits object worn in the lower lip, and is something or know something. To open within many groups of the Mebêngôkre/ additionally fastened to the teeth children’s ears for the oral transmission 1. Mussel-shell necklace Kayapó. with reeds. Because of the absence of knowledge, their earlobes are pier- In a time-consuming process, the mus- of lip piercings it is nowadays mostly ced after they are born. These openings sel-shell pieces are ground into shape h. Bast-fibre bracelets clasped between the teeth like a pipe are repeatedly widened throughout on a stone and then threaded on cotton Kuben-Kran-Kêgn, Mebêngôkre/Kaya- stem. When men quarrelled at rituals in childhood; they are a symbolic second strings. It is important that the mussel- pó, Río Xingú, north-eastern Brazil, former days, they would break the beak auditory canal supposed to foster lear- shell discs are as uniform as possible. 1960–1993 and use it to scratch and injure the ning and knowledge. Wooden plugs are Such necklaces exist in various versi- Tree bast fibre, collector/collection: arms of their adversaries. usually worn in everyday life. Only in ons. To wear them, people need to hold Ernst Josef and Elise Fittkau, inv. no. Kuben-Kran-Kêgn, Mebêngôkre/Kaya- the context of special rituals are people specific ritual privileges that differ for 10-133 035 a, b pó, Río Xingú, north-eastern Brazil, allowed to wear plugs made of feathers the various types of necklaces. Rights 1960–1993 and mussel shells. to this kind of adornment are particu- i. Rattling belt Plant material, feathers, toucan beak The symbolic meaning of lip orna- larly rare and precious, and are thus Mekranotí, Mebêngôkre/Kayapó, Río Collector/collection: Ernst Josef and ments is similar. However, only boys bequeathed on only few relatives. The Xingú, north-eastern Brazil, 1960–1993 Elise Fittkau, inv. no. 10-132 982 get their lower lip pierced after birth, owners of these privileges are allowed Palm-fibre mesh, tapir hoofs and the opening is repeatedly widened to wear such necklaces on almost every Collector/collection: Ernst Josef and until they are old enough to marry. Lip occasion. The necklaces enjoy particular Elise Fittkau, inv. no. 10-133 040 Lip disc ornaments accentuate speech or, more popularity among bachelors who use Kuben-Kran-Kêgn, Mebêngôkre/Kaya- precisely, the art of speaking. This is these extraordinary ornaments to make j. Cotton ribbon pó, Río Xingú, north-eastern Brazil, the most important art of persuasion an impression on women. Due to the Replica 1960–1993 used by the leaders. As it is exclusively strong odour of mussel shells and the Wood men who lead the village communities, power associated with it, wearing shells k. Rattling anklets Collector/collection: Ernst Josef and women are not allowed to wear lip on the body is viewed as being fraught Kuben-Kran-Kêgn, Mebêngôkre/Kaya- Elise Fittkau, inv. no. 10-132 971 ornaments. Today, large lip ornaments with danger. This is why people never

8 9 The Shipibo-Conibo: Contested Patterns put on such necklaces when they are Xingú, north-eastern Brazil, 1960–1993 The reality of the Shipibo-Conibo on the to foreign clients while neglecting their ill, and also refrain from wearing them Seeds, beads, seed capsules, macaw Río Ucayali in Peru is interwoven with role in Shipibo-Conibo society. The when close relatives of theirs are ailing. feathers patterns that are largely invisible in social gap is becoming wider, rituals According to Paulinho Payakan, the Collector/collection: Ernst Josef and everyday life. They only reveal themsel- and narratives are adapted to a new necklace on exhibit here was made by Elise Fittkau, inv. no. 10-333 025 a, b ves when psychoactive plant substances clientele. This results in a struggle both his father, the leader Kanyok. Paulinho are consumed. The best known of these for authenticity and for representative Payakan played an important role in ...... is a decoction from ayahuasca (Baniste- power. the protest against the Altamira Dam in riopsis caapi) and the leaves of Psy- Brazil in the 1980s and 1990s. In June chotria viridis. The patterns consist of ...... 2020, he died at about sixty-five as a Feather headdresses broad lines (kanoa), which serve as the result of a Covid-19 infection. Mebêngôkre/Kayapó, Río Xingú, north- pillars supporting the structure of the Gototíre, Mebêngôkre/Kayapó, Río Xin- eastern Brazil, 1960–1993 world above, and thin lines (kené). The Ceremonial pottery, ani chomo gú, north-eastern Brazil, before 1974 Cotton, feathers thin lines are associated with humans This type of vessel is used to prepare Seeds, mussel shells Collector/collection: Ernst Josef and Eli- as well as with many spirit beings, and store alcoholic beverages on festive Collector/collection: Ernst Josef and se Fittkau, inv. nos. 10-332 954, 10.332 such as ani ronin, the Great Boa. Kené occasions. The vessels are made without Elise Fittkau, inv. no. 10-132 992 957, 10-332 958 is today used to refer to the patterns use of a potter’s wheel in a process that formed by both types of lines; they are takes several weeks. 2. Necklace with feather quills a synaesthetic phenomenon that is also The painted decoration represents the Mebêngôkre/Kayapó, Río Xingú, north- “Neckties” associated with curing songs (icaros) or tiers of the cosmos: The lower third of eastern Brazil, 1960–1993 Mebêngôkre/Kayapó, Río Xingú, north- fragrances. the vessel’s body remains unpainted. Cotton thread, feather quills eastern Brazil, 1960–1993 Until a few decades ago, the sub- It symbolizes the Lower World or Water Collector/collection: Ernst Josef and Cotton, feathers sistence of the Shipibo-Conibo was World whose inhabitants are hostile Elise Fittkau, inv. no. 10-133 000 Collector/collection: Ernst Josef and Eli- mainly based on their plantations and and not distinguished by any patterns. se Fittkau, inv. nos. 10-332 984, 10-332 on fishing. Today their environment When the chomo is in use, that lower 3. Necklace of seeds and feather quills 985, 10-132 986, 10-332 989 is endangered by deforestation and part is buried in the ground so as to Txukahamai, Mebêngôkre/Kayapó, Río agroindustry, climate change, and con- keep the beverage cool. The border to Xingú, north-eastern Brazil, 1960–1993 cessions granted to oil companies. At the Upper World runs along the widest Cotton thread, hormosia seeds, feather Back ornament the same time, tourism brings opportu- part of the chomo’s body; it is the ter- quills, Collector/collection: Ernst Josef Kuben-Kran-Kêgn, Mebêngôkre/Kaya- nities and changes. ritory of ani ronin, the Great Boa which and Elise Fittkau, inv. no. 10-333 001 pó, Río Xingú, north-eastern Brazil, The arts and crafts trade is thriving, lies coiled around the human world 1960–1993 and ayahuasca has become a fashion and the ocean. The Upper World on Bracelets (plaited) Cotton thread, stemmed macaw feathers drug. Male and female ritual specialists, the shoulder of the vessel features the Txukahamai, Mebêngôkre/Kayapó, Río Collector/collection: Ernst Josef and called onanyas, at times give treatment structure supporting the sky, as well

10 11 as dwellings of supernatural beings. Head ornament, maiti ...... The highest cosmic sphere can be seen Such headdresses are worn by both men on the neck of the vessel – the of and women on festive occasions. The awareness, or the home of the supreme word maiti also refers to the halo sur- Women’s wraparound skirt, Combs, boexeti beings. This part of the cosmos is al- rounding the heads of healers who are chitonti In former times, combs were often ways bright-coloured and has the most particularly powerful or knowledgeable. The skirt is embroidered with kené presented to women by men as gifts of delicate patterns. It is visited by beings Shipibo, Puerto Firmeza, Lago Yarina- patterns. The small serrated lines are love. such as pino ehua, the Hummingbird cocha, Peru, before 2015, Cotton, seed inspired by piranha teeth, and called Shipibo, Ucayali, Peru, 1963–1992 Spirit. capsules, glass beads, cardboard make teta kené. Wood, plant fibres The religious specialists (onanyas) tra- Maker: Comunidad Indígena Puerto Fir- Shipibo, Ucayali, Peru, 1963–1992 Collector/collection: Ernst Josef and Eli- vel to these Upper Worlds to learn new meza, collector/collection: Anka Krämer Cotton fabric, embroidered se Fittkau, inv. nos. 10-333 653, 10-333 patterns or to enter into negotiations de Huerta, inv. no. 2015-14-5 Collector/collection: Ernst Josef and 656, 10-333 657 with the beings that dwell there. Elise Fittkau, inv. no. 10-333 618 Shipibo, Ucayali, Peru, 1963–1992 Clay, engobe Chest ornament, resho teoti ...... Bracelets, jonxe Collector/collection: Ernst Josef and The kené patterns are also transferred To signal their love, women formerly Elise Fittkau, inv. no. 10-333 569 to beadwork such as bracelets or chest used to present men with hand-made ornaments like the one on display. Dolls (pair) bracelets...... The collector, zoologist Prof. Dr. Ernst The man is wearing the men’s tunic 1–2 Shipibo, Ucayali, Peru, 1963–1992 Josef Fittkau, conducted research in va- tari, the headband maiti, a beaded Cotton, monkey teeth rious regions of Amazonia. At times he neckband teoti, and a nose ornament. Collector/collection: Ernst Josef and Man’s tunic, tari was assisted by his wife, Elise Fittkau. The woman is wearing the wraparound Elise Fittkau, inv. nos. 10-333 641, 10- Tari are also commonly referred to by His interest in the skirt chitonti, a necklace, as well as 333 648 the Quechua word cushma. Today they and his close contact with them led him earrings and a nose ornament. The bare are mainly worn on festive and repre- to compile a comprehensive collection upper body of the woman, painted with 3 Shipibo, Lago Yarinacocha, Peru, 2014 sentative occasions. of everyday items, which the Museum kené, is unusual. Only married women Seed capsules, glass beads, nylon thread Shipibo, Puerto Firmeza, Lago Yarinaco- Fünf Kontinente was able to acquire in will sometimes go without a blouse, Maker: Elsa Renfio, Yarinacocha, Pucall- cha, Peru, before 2015 2009/2010. particularly when they are breast-fee- pa, Peru Cotton, painted Shipibo, Ucayali, Peru, 1963–1992 ding a baby. Collector/collection: Anka Krämer de Maker: Comunidad Indígena Puerto Glass beads, aluminium discs, plant Shipibo, Ucayali, Peru, 1963–1992 Huerta, inv. no. 2015-14-6 Firmeza seeds, bone tubules Balsa wood (painted), cotton Collector/collection: Anka Krämer de Collector/collection: Ernst Josef and Collector/collection: Ernst Josef and Huerta, inv. no. 2015-15-3 Elise Fittkau, inv. no. 10-133 663 Elise Fittkau, inv. no. 10-333 696 a, b

12 13 The Maya in Guatemala – Identities in Transformation

Cylinder stamp Purse Common features as well as differences the goriest phase of the civil war was On festive occasions the Shipibo adorn Women keep their money in such em- are expressed by the styles and orna- over, entire villages had become wiped their bodies – usually face, hands, and broidered purses. ments of the traditional costumes worn out. 80 per cent of the victims of that legs – with kené patterns. Cylinder Shipibo, Puerto Firmeza, Lago Yarinaco- by the various Maya groups in Guate- genocide were Maya. Regional costume stamps are sometimes used for that cha, Peru, before 2015 mala, Mexico, Belize, Honduras, and El styles blended as a result of flight and purpose. Cotton, synthetic yarn Salvador. These costumes have repea- displacement. In other cases people Shipibo, Ucayali, Peru, 1963–1992 Maker: Comunidad Indígena Puerto tedly undergone pronounced change. deliberately modified their costumes so Wood Firmeza While such cultural representation has as to obscure their places of origin. It Collector/collection: Ernst Josef and Collector/collection: Anka Krämer de the potential of strengthening and was only when the peace agreements Elise Fittkau, inv. no. 10-333 658 Huerta, inv. no. 2015-14-11 communicating a sense of community, were signed in 1996 that protection it is also prone to create marginalisati- of the indigenous peoples and their ...... on. As a result, the manner of represen- cultures became enshrined in the cons- tation frequently transforms along with titution. This was done to acknowledge changes in people’s sense of belonging, the pluriculturality, multiethnicity, and Tablecloth or with isolation and alienation within multilinguality of the population of Tablecloths of various sizes are usually society. The Maya, who are made up of Guatemala made for sale. The cloth on exhibit various language groups, are united Is it possible to blur the lines between shows an armadillo surrounded by kené by a shared culture of remembrance ethnic groups without causing cultural patterns. The mythical Armadillo Being with regard to the horrors experienced identities to disappear? What does a is viewed as a helper, and sometimes since the beginning of the colonial era. look into the mirror reveal? invoked in curing songs. Continuing discrimination gave rise to Shipibo, Ucayali, Peru, 2nd half 20th solidarity, and a Pan-Maya movement Photo: Woman using a waist loom to century (movimiento maya) emerged from the weave a red-coloured women’s costume. Cotton mid-1990s onward in the wake of the Zacualpa, 1980. Photo: Sigrid Schacht Collector/collection: Elisabeth Kalko, peace process in Guatemala. inv. no. 14-337 897 In the 1960s, armed conflict between ...... the Guatemalan military and leftist insurgents resulted in a dirty war that was to last for more than 30 years. Women’s costume The indigenous population, which was The tops, called huipiles, are the most generally suspected of supporting the important component of Maya costu- guerrilla, became targeted for repres- mes. In a time-consuming process, they sion by the military. In 1982, when are handmade by women using waist

14 15 looms. In addition to the , women August 1983. Ríos Montt was the first 2 Maya, Guatemala, before 1935 wear a long skirt secured with a belt. former head of state to be convicted by Cotton, hair, Their hair is tied up with long ribbons. a court in his own country for genocide Collector/collection: Mrs Colonel von In their patterns and colours, everyday and crimes against humanity. Only ten Pfistermeister, inv. no. 35-13-18 huipiles differ from those worn on days after the sentence had been pro- special occasions such as ceremonies, claimed in 2013, Guatemala’s constitu- 3 Maya, Huehuetenango, Jacaltenango, festivities, or mourning. The men’s tional court annulled the judgment due Guatemala, 1975–2003 costume is no longer common today to procedural errors. Cotton due to influences from the outside and Quiché, El Quiché, San Juan Cotzal, Collector/collection: Sigrid Schacht, inv. its expensive manufacture. Guatemala, before 1994 no. 11-35 356 Top, skirt, belt, ribbon Cotton, cotton yarn, Collector/collec- Mam, Huehuetenango, Colotenango, tion: Sigrid Schacht, inv. no. 11-335 337 4 Maya, Huehuetenango, Aguacatan, Guatemala, 1975–2001, Guatemala, before 2013 Cotton, polyacrylic ...... Cotton, Lurex thread Collection/collector: Sigrid Schacht, inv. Collector/collection: Helga Potthast, inv. no. 11-335 363 a, c, d, e Two huipiles for girls nos. 13-336 874, 13-336 875 ...... (2 & 5 years old) Cakchiquel, Sacatepéquez, San Antonio Aguascalientes, Guatemala, before 2007 Mourner’s huipil Cotton, velvet, Women who are in mourning often wear Collector/collection: Gunhild Avitabile, huipiles in shades of dark blue. inv. nos. 07-328 537, 07-328 638 The number of deaths increased dra- matically in the course of the armed ...... hostilities in Guatemala (1960–1990), which have come to be called a dirty war against the indigenous popula- Women’s hair ribbons tion. About half of the victims, who 1 Maya, Mexico, before 1910 according to the U.N. numbered about Cotton, silk, metal lamella 200.000, were killed by the military and Collector/collection: Walter Lehmann, paramilitary units under General Efraín inv. no. 10-1211 Ríos Montt between March 1982 and

16 17 Travelling Masks and People

Hood masks and costumes made of bast of several children. Only two of these, a Mask costume: Serpent Kubeo, Namokoliba on the Río Cuduiary, fibre are used by many ethnic groups girl and a boy, survived the trip back to or Tree Being Brazil, before 1906 in northern Amazonia. These stunning Munich where both of them died within Spix had attended a procession of Bark fibre, paint, plant fibres, feathers cloaks of ritual transformation were few months. Martius recorded several masked dancers on the occasion of a Collector: Theodor Koch-Grünberg brought to Europe by various explo- contradictory versions of the circums- hair-cutting ceremony held for a girl. Collection: Therese, Princess of Bavaria, rers and travellers. They were usually tances of that “purchase”. Regardless of He subsequently bought several mask inv. no. 26-T-844 utilized only once and then discarded which version is true, it is unlikely that costumes including the one on exhibit. and left to decay. To sell them instead the children were asked for their consent. Tikuna, Tabatinga on the Río Yavary, of discarding offered the opportunity Brazil, before 1819 to obtain trade goods without investing ...... Bast fibre of a ficus species, painted much effort. Collector: Johann B. von Spix The oldest preserved mask(costumes) Collection: Spix and Martius, inv. no. 380 include those acquired by Johann Mask: Storm Being Baptist von Spix and Carl Philipp von As the Juri vanished from the scene ...... Martius when they travelled in Brazil only a few decades after these crest (1817–1820). Their itinerary followed masks were bought, there are few established trade routes, in whose reports both on them and on the exact Miniature mask costume: contact zones many villages were inha- meaning of the masks. Martius descri- Giant bited by members of various indigenous bed the Juri as peaceful people some of The Giant, haíläkö, is one of many forest- groups as well as by descendants of whom were working for the immigrants. dwelling beings believed to be dange- Portuguese immigrants. The local popu- There is now evidence that a small part rous. One of the reasons for holding mask lation was thus familiar with the inter- of the Juri population retreated to the feasts was to “tame” these sylvan beings, ests and cravings of foreign guests. forests from the mid 1800s onward, and at least to a certain extent. Theodor Not every deal made by the two ex- that their descendants are now found Koch-Grünberg had brought back several plorers on their journey was as unpro- among those groups that have chosen of these very small mask costumes from blematic as the acquisition of the mask to live in isolation. Due to the current his expeditions in north-western Ama- costumes. While Brazil was formally no developments, the survival of the isola- zonia, and gave five of them to Therese longer a colony at the time, colonial ted groups is again at risk. of Bavaria. They were probably made en structures had given rise to human Juri Taboca, Uarivarú village on the Río miniature because it was easier for Koch- trafficking. Some indigenous leaders Yapurá, Brazil, before 1819 Grünberg to transport such diminutive profited from the continuing trade in Tree bast of a ficus species, painted versions. While children’s toys in the form humans by selling prisoners of war. Collector: Carl Ph. Von Martius of miniature mask costumes existed at That way, Martius became the “owner” Collection: Spix and Martius, inv. no. 385 the time, they were made of corn husks.

18 19 Mask Costumes of the Karihona

When anthropologist Helmut Schindler from the protective measures taken. Bast fibre, paint, mirror fragments, bot- ...... arrived in the village of Puerto Nare on For example, the red dye used for the toms of batteries, metal ornaments the Río Vaupés in the early 1970s, the mask costumes, which is extracted from Collector/collection: Helmut Schindler, last mask feast had been held a long chiote seeds, is blown on by a religious inv. no. 72-3-2 Mask costume: Ocelot time ago. Nevertheless, knowledge ab- specialist so as to weaken the harmful As in many other parts of Latin Ameri- out making and using ceremonial mask power of the Iwo (spirit of the dead) ca, the ocelot is a key symbolic figure costumes was still very much alive. and to protect the living. Mask costume: male itutarü among the Karihona, representing The anthropologist and the villagers (Forest Being) knowledge and power. The eyes made agreed that it was about time to make ...... The impetus for making itutarü mask of pieces of mirrors are a conspicuous preparations for a mask-feast revival. costumes are encounters with the itu- feature of this mask. They imitate the The results – the mask costumes, lyrics tarü (also called “Lord, or Lady, of the light-reflecting surface that makes the of songs, and photographs – were sent Mask costume: female itutarü Animals”), who reveals himself/herself eyes of predatory cats “glow” in the by the researcher to professor Otto (Forest Being) to the religious specialists in dreams dark. The emphasis on the eyes also Zerries at the Museum Fünf Kontinente The itutarü (itu: forest, arü: leaf) are di- and visions. Such encounters also ena- serves to evoke awe and respect. in Munich. The Carib-speaking Karihona vine beings of the forest. According to ble the shamans to induce the itutarü The ocelot mask costume is but one of live in the lowlands of southern Colum- oral traditions, the crop plants that are to send game animals to the humans. many ceremonial animal mask costumes bia. In their language, Karihona means still the basis of Karihona subsistence At the mask feast, the itutarü carries a that appear in pairs in the mask feasts “human beings” or “people”. (most importantly manioc) emerged club or bludgeon with which he threa- of the Karihona. They include female The main occasion for the mask feasts from the dismembered body of the tens those participants who dare to and male sloths, dung beetles (hümu), of the Karihona was the harvest of the itutarü in mythical times. deride him. In addition, he invariably and deer (kadyakö). tree fruits – which are used to make an There is evidence that industrial pro- has a cigar-like object in his mouth. Karihona, Puerto Nare, Río Vaupés, alcoholic beverage – of the peach palm. ducts and semi-finished products (bot- Itutarü are considered dangerous and , before 1971 The wearers of the masks, as well as vi- toms of tubular batteries, fragments of need to be pacified with gifts. The Bast fibre, paint, pieces of mirror sitors from other villages, were regaled mirrors) were used as early as in the end and highlight of the mask feast is Collector/collection: Helmut Schindler, with palm fruits and smoked food. mid-19th century. Their use is thus not a banquet: the itutarü couple enters inv. no. 71-7-1 In the mythology and beliefs of the a modern phenomenon but a tradition the community house accompanied by Karihona, making and wearing the that is more than 150 years or even dancing and singing...... plant-fibre mask costumes is not several centuries old. The triangular Karihona, Puerto Nare, Río Vaupés, without danger, as the bark fibres used ear pendant is reminiscent of the metal Colombia, before 1972 are imbued with the life power called ornaments of earlier times that used to Bast fibre, paint, feathers, seed capsu- Bark trumpet akürü. The respect paid not only the be worn by men. les, achiote seeds, plant fibres The trumpet’s name notihüimü (“the akürü of the tree bast but also the itu- Karihona, Puerto Nare, Río Vaupés, Collector/collection: Helmut Schindler, great old woman”) probably alludes to tarü (Forest Beings) becomes apparent Colombia, before 1972 inv. no. 72-3-1 the female creator deity and first owner

20 21 Guna Life Worlds of such instruments found among Guna Yala, the Land of the Guna, is a the patterns underlying nature. Still neighbouring groups, from which the province of Panama. This is where most today, inspiration for mola designs is Karihona adopted the bark trumpets. Guna (35.000 people) live today. Others found in nature but also in everyday The bark trumpet is blown when mask inhabit the smaller districts of Wargan- utensils, myths, political events, and feasts are held. di and Madungandi as well as two small even characters appearing in television Karihona, Puerto Nare, Río Vaupés, villages in Colombia. While the dense shows. By producing the molas which Colombia, 1971 Daríen rain forest on the mainland was are now being sold all over the world, Balsa wood tube (Ochroma sp. or Inga their original home, most Guna now the women have become important spp.), plant fibres, bark bast live scattered on islands off the coast economic supporters of their families. Makers: Marco Tulio Valencia (* ca. 1940, of Guna Yala (San Blas Archipelago) as Molas are thus not only clothing but † ca. 2011, Villavicencio; of the werewe- well as in Panama’s big cities. also markers of cultural identity and a reru clan) and Delio Carijona (†, son of Many indigenous groups in Latin means of economic success. the shaman Baldomero Carijona, † 1982, America view the Guna as a role model and his wife Evelia of the kaikuciyama because they successfully resisted the The Guna believe that the cosmos is clan) reign of violence of the Panamanian in a state of balance that needs to be Collector/collection: Helmut Schindler, police in 1925. Since the conclusion maintained. This principle is found in inv. no. 85-306 098 of the peace treaty of 1938, they have clothing as well as in the relations bet- had a clearly defined territory and an ween the genders and between humans autonomous administration. One of and Earth. However, their striving for their most important accomplishments a life in balance with nature is now was to re-establish women’s right to thwarted by the challenges posed by wear their traditional hand-made mola climate change. Before long, the rising blouses. Mola – or, in the Guna langua- sea level will make the islands uninha- ge, morak – is the term used for both bitable. Additional problems are posed the rectangular pieces of needlework by decreasing fish populations and and the blouses on which they are ap- plastic waste washed ashore. pliquéd. Dressed in that colourful garb, Photo: the women represent Mother Earth. Waste washed ashore on Mamitupu Is- The origin of the patterns is told in land, Guna Yala (San Blas Archipelago), a myth: A long time ago, a woman 2019. Photo: Jenevora Swann named Nebagiryai was able to travel to other spheres in her dreams. While doing so, she was the first to discover

22 23 Mola blouse Cotton, collector/collection: Helmut Kalko, inv. no. 14-337 920 Gole igar – the tracks of According to oral tradition, the pat- Richter, inv. no. 09-329 407 the hermit crab terns were originally painted on the Mola This geometric design is human body, then on bast-fibre clot- Mola gole igar Guna, Panama, 2nd half 20th century called gole igar by the hing, and eventually sewn using cotton Guna, Colombia, 1965 Cotton, collector/collection: Elisabeth Guna. It is supposed to fabric. Molas are almost exclusively Cotton, collector/collection: Ernst Josef Kalko, inv. no. 14-337 927 imitate the tracks left handmade by the women, and making and Elise Fittkau, inv. no. 10-330 853 in the sand by a hermit a mola takes several weeks. The blouses Mola crab as it scuttles along the beach. Gole are combined with colourfully patterned Mola Guna, Panama, 2nd half 20th century igar, of which there exist several versi- wraparound skirts, beadwork bracelets Guna of Uraba, Antioquia, Colombia Cotton, collector/collection: Elisabeth ons, is an ancient and frequently used and anklets, a scarf around the head, as Cotton, collector/collection: Larry Kalko, inv. no. 14-337 924 pattern. The reduction of colours and well as jewellery and a nose ring made of Schafer, inv. no. 13-336 697 details in the mola on exhibit suggests gold. As modern blouses have usually a Mola that it is an older specimen. contoured fit, the loose fit of this blouse Mola Guna, Panama, 2nd half 20th century suggests that it is an older style. Guna, Panama, ca. 1950 Cotton, collector/collection: Elisabeth Guna, Panama, before 1963 Cotton, collector/collection: Helmut Kalko, inv. no. 14-337 910 Mola Botanica Cotton, collector/collection: Angermann, Richter, inv. no. 09-329 406 This mola is inspired inv. no. 63-19-1 ...... by a plant used by the ...... Guna for medical pur- ...... poses. Such officinal Mola Soldier in a tank plants are processed Mola Guna, Panama, 2nd half 20th century When the Panama Canal by medical and religious specialists, Guna, Panama Cotton, collector/collection: Elisabeth was built and later du- the ina duled. The sap of roots may be Cotton, collector/collection: Corinna Kalko, inv. no. 14-337 902 ring World War II, the extracted, or leaves may be soaked for Schlüter-Ellner, inv. no. 05-326 929 Guna were in close con- several days. They are then administe- Mola tact with U.S. soldiers. This was when red in sessions that usually also include Mola with soldier and tank Guna, Panama, 2nd half 20th century the Guna first sold molas on request. curing songs. Guna, Panama Cotton, collector/collection: Elisabeth They adapted the motifs on the molas Cotton, collector/collection: Corinna Kalko, inv. no. 14.337 909 to the buyers’ taste for better saleability. Schlüter-Ellner, inv. no. 05-326 928 With the increase of tourism in Panama Mola Botanica from the 1960s onward, molas came to Mola Guna, Panama, 2nd half 20th century be marketed and are now an important Guna, Panama, ca. 1950 Cotton, collector/collection: Elisabeth source of income for many Guna women.

24 25 Woven Messages from the Past

Due to their state of preservation, people who lived long before the era of arts market. It is thus not possible to ...... which is often amazingly good, texti- the Inca. This is because a large part of tell whether the shroud was already les from ancient Peru give us glimpses the riches of Inca culture fell victim to fragmented when found, or whether of past pictorial worlds. Some woven the destructive frenzy of the conquis- it was cut apart later. In the 19th and Border fragment of a textile fabrics found in graves in the coastal tadors. 20th centuries, collectors and traders The collection of the Museum Fünf region were made in the first mill- would sometimes cut larger textiles into Kontinente includes several borders ennium BC. The desert soil and sea air ...... pieces so as to sell the fragments to in identical style. All of them feature were conducive to the preservation several buyers. these serpent patterns, and it is likely of textiles. There are similarities in Paracas, Peru, southern coast, 200 that they were originally appliquéd on portrayals of supernatural beings over Textile fragment of a shroud BC–AD 100, Camelid hair the same larger textile. Between the large distances in space and time, and The textile fragment shows a being with Collector/collection: Engelbert Hardt, snakes frogs and other small animals depictions of animals from the rain-fo- anthropomorphic features, strikingly inv. no. 35-9-1 appear. Inside the snakes themselves, rest region on the other side of the large eyes, and wearing a forehe- the zigzag meanders typical of Paracas Andes reveal a lively exchange between ad mask or head covering. Serrated ...... are recognizable. the culture areas. serpent bodies connect the figure with Paracas, Peru, southern coast, There is evidence from the Inca peri- several smaller beings and animals. A 600 BC–AD 100, Camelid wool, hair od (AD 1100–1533) that much value spider can be identified in the upper Braid with blossoms and birds Collector/collection: Heinrich Hardt, was attached to exquisite textiles. right corner. The colour scheme, the The braid, which features alternating inv. no. 34-41-11, b According to early colonial sources, weaving technique, and the serpents three-dimensional small flowers and weaving them was a time-consuming connected to the being’s body are typi- birds, was probably the border of a ...... and sophisticated process. Making one cal of the Paracas culture (700 BC–AD larger, rectangular textile. The colour- garment would sometimes occupy seve- 200), as is the shape of worn ful and accurate rendition of the small ral generations of specialized weavers. by the figure. The latter is probably figures is awesome. Border braids of or shroud The sources also praise the clothing either a mythical being or a human this type are frequently found in the The arrangement of the borders with of the Inca nobility, and stress that who is in contact with mythical beings, transitional period between the Paracas their anthropomorphic figures and its quality and delicateness surpassed possibly with the help of hallucinogenic (700 BC–AD 200) and Nazca cultures serpents suggests that this is a shroud those of European products of the time. substances. (100 BC–AD 700). The piece was exca- from the Paracas culture. However, its However, not all inhabitants of ancient An almost identical fragment is found vated by Heinrich Ubbelohde-Doering small size and the opening in the centre Peru dressed so lavishly. Besides very in the Textile Museum in Washington. in the Nazca region. indicate that it may rather be a poncho. elaborate fabrics, archaeological exca- Both pieces may once have been part Nazca region, Peru, southern coast, Paracas, Peru, southern coast, vations unearth many textiles that are of the border of the same shroud. They 200 BC–AD 100, Dyed camelid hair 600 BC–AD 100, Wool, hair much plainer. were not excavated in an authorized Collector/collection: Heinrich Ubbeloh- Collector/collection: Volker Hartmann, Most surviving pieces are from graves of archaeological dig but bought on the de-Doering, inv. no. X-472 inv. no. 78-300 449

26 27 Mapuche: The Fabric of Resistance

...... highlands, and the tropical lowlands. The The Mapuche – whose name translates indigenous peoples – became ratified centre of Wari culture was situated near as „People of the Earth“ – put up long in 2008, the government did not trans- today’s provincial capital of Huamanga. and successful resistance first against pose the concomitant obligations into Stately garment, uncu Wari, Peru, southern coast, AD 700–900 the expansion of the Inca and then applicable law. Still today, the anti-ter- Splendid tunics such as this uncu were Camelid hair, cotton against the Spaniards’ attempts of con- rorism law No. 18.314, passed during reserved to the elite in the Inca period, Collector/collection: Heinrich Ubbeloh- quest. At the same time, they adopted the dictatorship of Augusto Pinochet and often awarded as “orders of merit”. de-Doering, inv. no. X-852 elements of their adversaries’ cultu- (1974–1990), is applied when Mapuche Their patterns – in this case the so- res, such as horse-riding and animal go protesting; the resulting court pro- called “Inca key” – were indicative of husbandry. Inca and colonial Spanish ceedings are usually non-transparent the social rank and functions of their influence is also evident in their clot- and characterized by arbitrariness. wearers. Compared to the textile art of hing and jewellery. Numbering about 1.5 million people the predecessor cultures, the clothing After had become independent (census of 2012), the Mapuche make up of the Inca era was characterized by in 1810, large parts of the Mapuche’s 9.9% of the Chilean population and are simpler, clearly defined patterns. territory were annexed. Their land one of the largest indigenous groups of Inca, Los Majuelos, Río Grande de Nazca, holdings were further reduced by land- South America. Today they live between AD 1400–1540 grab by Chilean and German settlers, the Bio-Bio River and Chiloé Island. Camelid hair seizure of land due to over-indebted- They still cherish and maintain many of Collector/collection: Heinrich Ubbeloh- ness, and “voluntary” land sales. This their distinctive cultural features: their de-Doering, inv. no. X-447 economic pressure caused many fami- own language, family and religious lies to break apart. To counteract that bonds, and their craftwork products of ...... situation, the Mapuche founded poli- wool, silver, leather, and wood. tical parties, modelled on the Chilean party system, in the early 20thcentury...... Four-pointed While the “Ley Indígena” legislation, This typical headgear of the Wari period which was passed in 1993, granted is decorated with camelids on all four indigenous groups some rights such as Saddle blanket, chanu sides, which may allude to the pro- bilingual school education and radio The adoption of horse riding from the fession of its former wearer. In size, programmes of their own, the Chilean Spaniards played an important role in the sphere of influence of Wari culture constitution does not acknowledge any the Mapuche’s struggle against colonial was similar to that of the Inca several special status of indigenous peoples. usurpation. centuries later. Like the Inca empire it Even when the ILO convention no. Mapuche, Chile, before 1926, Wool extended over the three vegetation zones 169 – the first international set of Collection: Therese, Princess of Bavaria, of the region: the coast, the Andean regulations pertaining to the rights of inv. no. 26-T-1631

28 29 Saddle girth like a cradle. Wooden corpus, fur, horse-hair braids, Neck ornament with chest pendant Mapuche, Chile, 19th century Today, many women advocate equal leather handle, collector/collection: un- Mapuche, Chile, before 1988 Wool, Collection: Missionsmuseum Alt- rights, calling for recognition of their known, inv. no. 87-308 588 Silver alloy, leather, glass beads ötting, inv. no. 91-315 951 work. However, they do not strive for Collector/collection: Margarita Göpfert an abolishment of the gender-specific ...... de Delius, inv. no. 88-311 197 ...... division of labour. Mapuche, Chile, before 1940 Chest ornament Ceramic, textile, wood, tin Jewellery Mapuche, Chile, before 1950 Doll in men’s costume Collector/collection: Margarita Göpfert Besides reflecting concepts of beauty Silver, collector/collection: Dora Pröwig, In men’s costume, the poncho is the de Delius, inv. no. 86-307 932 a, b and expressing wealth, jewellery serves inv. no. 50-6.22 indicator of prestige: the more sophis- to symbolize femininity. In addition, ticated the weaving, the higher the ...... it is a link connecting people with the Chest ornament for women standing both of the female weavers world of beliefs and mythology. It also Mapuche, Chile, before 1950 and the wearers. emphasizes the connection to nature Silver, collector/collection: Dora Pröwig, Mapuche, Chile, before 1940 Drum, kultrun(g) which is reflected by various symbols inv. no. 50-6-24 Ceramic, textile The kultrun, a rattle drum, is used in in the jewellery. One example is the Collector/collection: Margarita Göpfert religious and curing ceremonies and moon; it is associated with silver and Chain ribbon de Delius, inv. no. 86-307 933 serves as the voice of the machi – the symbolizes femininity and fertility. This Mapuche, Chile, before 1986 shaman/ess who leads the ceremo- is why jewellery is important for rituals, Silver alloy, collector/collection: W. ny. The cross-shaped lines symbolize too, as it does not only provide protec- Lugert, inv. no. 86-307 889 Doll in women’s costume references to the earth and the cosmos, tion and blessing but also guidance for with child as well as to the four cardinal directi- sowing, growth, and harvest. Cloak pin, tupu The figure is dressed in a rectangular, ons and the sun. Also represented are Mapuche, Chile, before 1926 smooth and patternless textile, the the four seasons with their agricultural Women’s head ornament Silver, collection: Therese, Princess of chamal. In addition, it wears a chest activities, and inquiries directed to dei- Mapuche, Chile, before 1983 Bavaria, inv. no. 26-T-1647 ornament and earrings made of silver, ties. As in jewellery, there are allusions Silver, textile a headband, and a cradleboard (ku- to the moon. The items inside the drum Collector/collection: Helmut Schindler, Cloak pin, tupu pülwe). The latter is very versatile: It on exhibit (parts of silver jewellery, inv. no. 83-302 482 Silver, collection: Therese Princess of may be carried on the woman’s back, grains, as well as additional objects Bavaria, inv. no. 26-T-1650 but she may also carry it in front when made of metal and glass) reveal its for- Ear ornaments (pair) Tupu are used to fasten the women’s breastfeeding her baby. When the baby mer ritual use. Drums made for sale are Mapuche, Chile, 1st half 20th century shawls. Unmarried women wear them is asleep, the kupülwe may be put on usually filled with worthless items. Silver, collector/collection: Erika Kunze- on both shoulders, married women only the ground or suspended between trees Mapuche, Chile, before 1938 Götte, inv. no. 11-335 314 a, b on the right shoulder.

30 31 The Collecting Mania of a Princess

...... a successful outcome of their work. The career chosen by Therese, Princess ignored these in her itinerary. Instead Mapuche, Chile, before 1925 of Bavaria (1850–1925) was unusual she watched with interest the religious Wool, collector/collection: Therese, for a lady of high nobility: She travelled practices of the highland population, Belts, trarituwe/trarüwe Princess of Bavaria, inv. no. 26-T-1627 the world as an ethnologist, zoologist, whose oppression by the big landow- Trarituwe are worn by women under and botanist. Over the decades she ners did not escape her. In her travel the chemal. Wrapped around the body ...... compiled a comprehensive collection notes, reflections influenced by the several times, they serve as belts. of ethnographic objects, photographs, study of race are complemented by her They indicate the social status of their as well as animal and plant specimens. personal impressions distinguished by wearer, and are decorated with symbols Mural featuring a machi In 1898 she visited the western part compassion. Therese was particularly inspired by mythology. The mural shows a machi, a priest or of South America. The main objective fascinated by the colourful dance feasts Mapuche, Chile, 19th/20th century healer who is in charge of maintaining of her journey was to enlarge the royal of the Aymara. She bought many items Wool, leather contact with the supernatural. In the collections. Therese was particularly of clothing as well as dance accesso- Collectors/collections: Helmut Schind- painting a female machi appears with eager to acquire a Peruvian mummy. ries on the market of before ler, Américo Gordon, Volker Hartmann, her drum (kultrun) and with the stake In Lima she was able to purchase even embarking – pressed for time – on her Margarita Göpfert de Delius, Missions- used in the ngillatun ritual. The machi two, but she did not want to miss the homeward journey via Chile. museum Altötting is often called to her/his vocation by chance to gain prestige by excavating 1. Inv. nos. 78-300 699, 83-302 430, a dream or extraordinary event, such a grave herself. While she explicitly cri- ...... 86-307 935, 88-311 532, 88-311 538, as surviving severe illness. During the ticized the destruction and plundering 88-311 545, 91-315 944 machitun (ceremony of healing and in the necropolis of Ancón, this did not prayer) she/he is in a state of trance. It keep her from hiring two professional Textile head of a mummy ...... is customary to consult a machi before treasure hunters on spot, with whose bundle undertaking anything important. help she excavated a mummy bundle Therese usually bought contemporary Artist: unknown, Photo: Katharina Neu- along with grave goods. objects from their makers; as a rule, Poncho maier, 2019, Valparaiso, Chile As soon as Therese had left the coastal these transactions were of an unob- Mapuche textiles are distinguished by region of Peru and set foot on Andean jectionable nature. In contrast, the clear, symmetrical patterns, repeti- soil, her focus of research and collec- pre-Columbian objects in Therese’s tion of figural motifs, stylisation, and ting changed completely. Turning her collection were acquired in a way that, originality. The colour range is broad back on pre-Columbian relics, she beca- at least from a modern perspective, is due to the use of many different plants. me enthralled by the contemporary in- ethically questionable. On the one hand Knowledge in the sphere of textile pro- habitants of the border region between she criticized grave-looting for being duction is closely associated with belief Peru and Bolivia. While Therese knew an act of impiety. On the other, she and religious practices. This is why that Bolivia, too, has ruin sites such as collected skulls lying on the ground and women sing when weaving, or pray for Tiwanaku near La Paz, she completely thus became a grave robber herself. In

32 33 Ancón near Lima she discovered the ted , jaguar-fur vests, trousers, and Shawl body of a young man, wrapped in thick skirts, she had not succeeded in buying Aymara, La Paz, before 1898 layers of fabric and in the crouched a complete set on location. With the Wool, tinsel position typical of Peruvian mummies. help of the German diplomat August Collector/collection: Therese, Princess of After having returned to Munich she Freiherr von Brück, who was active Bavaria, inv. no. 26-T-1118 gave her macabre find to the Royal in Bolivia from 1904 until 1906, she Ethnographical Collections (Königlich was later able to acquire a jaguar vest ...... Ethnographische Sammlungen) which which, unfortunately, cannot be exhibi- are today part of the Museum Fünf ted for conservational reasons. Kontinente. Nothing is known about Aymara, La Paz, before 1898 Purse in the shape of a cos- the whereabouts of two more mummies Wool, metal, metal foil, paper, mirrors, tume doll with child she bought in Lima. tinsel, leather, plant fibres Peru, before 1909 The textile head on exhibit was ori- Collector/collection: Therese, Princess of Wool ginally attached to a mummy bundle Bavaria, inv. no 26-T-1125 Collector: Max Uhle, Collection: Therese, as a “false face”. It is very likely that Princess of Bavaria, inv. no. 26-T-496 Therese bought it in Lima. It is exhibi- ...... ted as an example of objects of obscure provenance that were acquired under Two purses in the shape of problematic circumstances. Sash with feather mosaic costume dolls Ancón, Peru, AD 1000–1500 Not all objects purchased by Therese Peru or Bolivia, before 1909 Cotton, wood, mussel shell, feathers, from the Aymara in La Paz were ori- Wool plant fibres ginally from the highlands. Via the Collector/collection: Therese, Princess of Collector/collection: Therese, Princess of lowland dwellers – who were derogatori- Bavaria, inv. no. I-1854 Bavaria, inv. no. 26-T-499 ly called “Chunchos” by the Quechua and Aymara – weapons and macaw feathers ...... found their way to the Andes, where the colourful plumage was made into splen- did dance ornaments such as this sash Dance hat made of feathers and wooden sticks. Therese’s interest in the dances of the Aymara, La Paz, before 1898 Aymara persisted after she had retur- Feathers, wood, cotton ned to Bavaria. While she had seen Collector/collection: Therese, Princess of dance costumes that included decora- Bavaria, inv. no. 26-T-1119

34 35 The Peoples of the Southern Andean Highlands and their Clothing

At an elevation of ca. 3.800 metres, enthusiastically celebrated by people of hing awakens to new life. The feast also and synthetic fibres are used as well. the Altiplano extends from south-eas- all ages. The elaborate dance costumes serves to commemorate the victory of Particularly the , the colourful tern Peru to western Bolivia and to and vivid choreographies have also cast the Yampara over the Spanish soldiers with ear flaps, are typical of the the north of Chile and . This their spell on many tourists. Dances, in a battle fought on 12 March 1816 du- costumes of the Andes. chilly and arid plateau between the music, and costumes increasingly find ring the Bolivian war of independence. , mountain ridges of the Andes does not their way into the societies of the This is why all dance hats have the sha- Bolivia, before 1974 only offer stunning panoramas. Despite national states, and have come to be pe of Spanish helmets, and oversized Camelid wool, synthetic lining, buttons its inhospitable conditions it is also viewed as being “typically” Bolivian and spurs are fastened to the shoes. Collector/collection: Anja Hehenberger, home to people: the Aymara who live Peruvian. In 2014, the pujllay and its dry-season inv. co. 2017-68-23 in the Lake Titicaca region, and seve- While handmade textile products – both counterpart, the ayarichi, were declared ral Quechua-speaking ethnic groups for people’s own use and for sale – World Immaterial Cultural Heritage. Cap with neck protection to their west and south-west. Prior to are in the tradition of pre-Columbian And on top of all, they are pageants Bolivia, before 1974 the European invasion the region was techniques of manufacture, they often cherished by tourists. Wool, leather, collector/collection: Anja part of the Inca empire. In the early lack the latter’s superb quality. Still, Hehenberger, inv. no. 2017-68-23 colonial period (16th/17th centures), some patterns and symbols, such as the Dance costumes of man and child many inhabitants of the highlands were so-called Andean Cross (chakana), have Yampara, Tarabuco, before 1974 Cap, chullo/chullu forced to work in the mines. Loss of survived until the present. Wool, cotton, synthetic fabric, leather, Bolivia/Peru, before 1973 land led to further impoverishment of metal, sequins, glass beads Wool, collector/collection: Anja Hehen- the indigenous farmers in the centuries ...... Collector/collection: Anja Hehenberger, berger, inv. no. 2017-68-69 that followed. However, recent history inv. nos. 2017-68-1 – 2017-68-21 has witnessed much discrimination and Cap, chullo exploitation as well. In many places Pageants for all generations ...... Peru, before 1974 the economic situation continues to The pujllay celebrated in Tarabuco in Camelid wool, collector/collection: Anja be precarious. In the last decades, southern Bolivia is one of the best- Hehenberger, inv. no. 2017-68-25 however, the highland population was known dance feasts of the Andes. In dizzy height able to gain at least a voice in political When the rainy season sets in, the Even before the importance of cul- Storm cap matters. inhabitants of the small village parade tivated field crops increased in the Aymara, La Paz, Bolivia, before 1898 In addition, the many-faceted dance the streets playing flutes and clarinets highlands, people kept domesticated Camelid wool, collector/collection: culture is still a living tradition. Some made of horn. This is done to ask the camelids – llamas and alpacas. The wool Therese, Princess of Bavaria, inv. no. dance feasts have their roots in rituals tata pujllay for support. The tata pujllay of the undemanding animals is perfect 26-T-1123 of the Inca era while others show is a supernatural being full of energy for making warm and at the same time European influence. All carnivals and and in charge of abundance, and the lightweight clothing to be worn in the Cap, chullo/chullu fiestas have in common that they are rainy season is the time when everyt- cold mountain region. Today, sheep wool Bolivia, before 1973

36 37 Wool, collector/collection: Anja Hehen- Well vested: and berger, inv. no. 2017-68-66 carrying cloths Ponchos and carrying cloths (, Belt (fragment) lliqlla) are found all over the Andean Peru, before 1973 region. Their colours and patterns Wool, collector/collection: Anja Hehen- follow local traditions that combine berger, inv. no. 2017-68-74 ancient symbols rich in history with innovative new creations. Both types of Children’s cap, chullo/chullu clothing are deliberately plain in style. Bolivia/Peru, before 1973 This makes them all the more versatile Wool, collector/collection: Anja Hehen- in terms of use: They may be worn as berger, inv. no. 2017-68-67 items of clothing, as coverings, or for carrying burdens; in addition, mothers Cap can use the cloths to carry their babies Aymara, La Paz, Bolivia, before 1898 on their back. Wool, collector/collection: Therese, Prin- cess of Bavaria, inv. no. 26-T-1121 Shawl/carrying cloth Aymara, La Paz, before 2003 Cap, chullo/chullu Wool, collector/collection: Rudolf Haller, Bolivia/Peru, before 1973 inv. no. 03-325 230 Wool, collector/collection: Anja Hehen- berger, inv. no. 2017-68-70 Shawl/carrying cloth Bolivia, before 1927 Bag Wool, collector/collection: Heinrich Aymara, Bolivia, before 1858 Hardt, inv. no. 27-27-1 Wool, collector/collection: Günter Mar- kert, inv. no. 58-3-4 Shawl/carrying cloth Aymara, La Paz, before 2003 ...... Wool, collector/collection: Rudolf Haller, inv. no. 03-325 232

38 39 The Use of Coca in the Andes

Coca (Erythroxylum coca) is viewed as a many people in the Andes. The leaves of Bolivia, Peru, and Columbia to put a coca sweets, and coca toothpaste was sacred plant in the Andean region. It is are kept in small woven bags (see complete ban on coca cultivation. Coca supposed to liberate coca cultivation said to grow at the threshold bet- above). plantations were at times destroyed from the grip of the drug cartels. ween the worlds of the living and the by means of toxic defoliants, with the dead. This is why coca is used, among ...... result that the soil became useless for ...... other things, to establish contact other crops as well. This led to increa- with supernatural beings. Coca leaves sing resistance on the part of the popu- are employed as a means of media- Coca is not Cocaine lation in the late 1980s. Particularly in Lime container tion particularly in the treatment of Cocaine was discovered, or rather ex- Bolivia it was the coca growers’ unions When coca leaves are consumed, lime illnesses that may result from conflict tracted from the coca plant, in Europe that led the struggle. In the wake of is added from small containers, usu- with these beings. The leaves play an around 1860. Illegal cocaine production these protests one of their leaders, ally gourds. Leaves and lime are then important role both in diagnosing today is a multi-step process involving Evo Morales, became very well known moulded into a ball inside the mouth, and curing. Offerings of coca leaves, addition of arsenic, gasoline, battery and was elected president of Bolivia in and the extruding juice is sucked from tobacco, sweets, cereals, or legumi- acid, and other substances. The main 2006. During his term in office (2006– the ball. nous plants are prepared in rituals and coca growing region is in the rain forest 2019) the restrictions imposed on coca subsequently burned. This is done to zone on the eastern side of the Andes, cultivation were eased, and officers of establish peace between humans and where coca cultivation causes land the American Drug Enforcement Admi- Asháninka, Peru, 1979 supernaturals, and thus to maintain grab, forced labour, and destruction of nistration (DEA) were expelled from the Gourd, wooden plug, lime a state of balance with Pachamama, the environment. Both there and along country. It was hoped that including Collector/collection: Ernst Josef and Mother Earth. In addition, coca leaves the trade routes through the Caribbean the farmers in policy-making would Elise Fittkau, inv. no. 10-330 241 are still chewed or made into tea in and Mexico, illegal cocaine trade gives help fight illegal cocaine trade. everyday life. Coca improves the ab- rise to massive human rights violations, sorption of oxygen – a very helpful corruption, violence, blackmail, and ...... Coca leaves property at high altitudes. It has the many cases of homicide. (Erythroxylum coca), dried potency to relieve not only mountain Coca leaves are internationally subject sickness but also digestive problems. to the same drug legislation as cocai- Coca tea Coca also numbs the feeling of hunger, ne. Consumption of the leaves has no United under the slogan “La oja de at least for some time. That property impact on the human central nervous coca no es droga” (“the coca leaf is no was used in colonial times to extract system, that is, it does not cause states drug”), a broad movement launched more work from the farmers and mine of intoxication. This is why its use is by coca farmers emerged against the workers. The coca plant thus became thus legal in the countries where coca stigmatisation of coca cultivation. The an ever-present companion and, at is grown. Particularly the U.S.A. has creation of legal opportunities for the a later time, a marker of identity of repeatedly pressured the governments export of products such as coca tea,

40 41 In 2019, the following people died violent deaths due to their commitment to their An exhibition of the Museum Fünf Kontinente, curated indigenous communities, human rights, or conservation of the environment: by students of the Institute of Social and Cultural Anthropology of the Ludwig-Maximilians-Universität Luis Díaz López – COLOMBIA, Miller Díaz López – COLOMBIA, Wilbelder Vegas Torres – PERU, Munich in the context of the seminar “Textile Infor- Gustavo Cruz Mendoza – MEXICO, Bernardino García Hernández – MEXICO, María Nelly mationsträger und lateinamerikanische Lebenswelten” Bernal Andrade – COLOMBIA, José Víctor Ceballos Epinayu – COLOMBIA, Óscar Cazorla (Za- under the direction of Anka Krämer de Huerta. potec) – MEXICO, Samir Flores Soberanes – MEXICO, Francisco de Souza Pereira – BRAZIL, Saturnino Ramírez Interiano (Maya Ch’orti’) – GUATEMALA, Solomon Matute – HONDURAS, Coordinating curator: Samuel Matute – HONDURAS, Alexánder Cunda – COLOMBIA, Eulodia Lilia Diaz Ortiz – MEXICO, Sergio Rojas (Bribri) – , Ebel Yonda Ramos – PUERTO RICO, Cristian Java Ríos – Anka Krämer de Huerta Loreto, PERU, Aquileo Mecheche Baragon – COLOMBIA, Miguel Ángel Alpala – COLOMBIA, Camilo Pérez Álvarez – MEXICO, Héctor Mauricio Rosas Hernández – MEXICO, Cristian Javá Guest curators: Ríos (Urarina) – PERU, Daniel Rojas (Nasa) – COLOMBIA, Joel Villamizar – COLOMBIA, Otilia Markus Dolinsky, Ira Eue, Katharina Kröner, Martínez Cruz – MEXICO, Gregorio Chaparro Cruz – MEXICO, José Lucio Bartolo Faustino - Pia Mayer-Gampe, Katharina Neumaier, Linda Nowottny, MEXICO, Modesto Verales Sebastián (Nahua) – MEXICO, José Alfredo Hernandez (Nahuat Anna-Maria Palmberger, Marie-Theres Wandinger Pipil) – EL SALVADOR, Carlos Biscué – COLOMBIA, Jorge Juc Cucul (Q‘eqchi‘ Maya) – GUATEMALA, Emyra Wajãpi (Wajãpi) – BRAZIL, Enrique Guejía Meza, - COLOMBIA, Kevin Curatorial advisors: Mestizo Coicué - COLOMBIA, Eugenio Tenorio (Nasa) – COLOMBIA, Juan Francisco Luna Gladis Arosemena Caicedo de Crespo (Guna Yala, Álvarez (Zenú) – COLOMBIA, Abraham Domicó (Embera) – COLOMBIA, Mario Alberto Achicué – Panama), Ignacio Crespo Evans (Guna Yala, Panama), COLOMBIA, Henry Cayuy – COLOMBIA, José Manuel Pana Epieyú – COLOMBIA, Víctor Manuel Laida Mori Silvano de Brabec (Österreich, Peru) Chanit Aguilar (Murui Muina) – COLOMBIA, Marlon Ferney Pacho (Nasa) – COLOMBIA, Max- ciel Pereira dos Santos – BRAZIL, Mirna Suazo (Garifuna) – HONDURAS, Milgen Idán Soto Our thanks go to: Ávila (Tolupán) – HONDURAS, Paulina Cruz Ruiz (Maya Achi) – GUATEMALA, Dumar Mestizo (Nasa) – COLOMBIA, Kiwe Thegna Toribio Canas Velasco – COLOMBIA, Lilia Patricia García – Alberto César Araújo, Bernd Brabec de Mori, COLOMBIA, Oneida Epiayú (Wayúu) – COLOMBIA, Constantino Ramírez Bedoya – COLOMBIA, Conselho Geral da Tribo Sateré-Mawé (CGTSM), Cristina Bautista (Nasa) – COLOMBIA, Asdrúbal Cayapu Kiwe Thegna – COLOMBIA, Eliodoro Fergus Dunipace & Jenevora Swann, Paul Hempel, Finscue – COLOMBIA, José Gerardo Soto – COLOMBIA, James Wilfredo Soto – COLOMBIA, Gabriele Herzog-Schröder, Wolfgang Kapfhammer, Isaías Cantú Carrasco (Mè’phàà) – MEXICO, Arnulfo Cerón Soriano (Nahua) – MEXICO, Vera Nowottny, Sigrid Schacht, Helmut Schindler Genaro Quiguanas – COLOMBIA, Jesús Eduardo Mestizo (Nasa) – COLOMBIA, Arnulfo Cerón Soriano – MEXICO, Paulo Paulino Guajajara (Guajajara) – BRAZIL, Catalino Barradas Santiago (Chatino) – MEXICO, Ángel Leonel Guzmán Morales – GUATEMALA, Erisvan Guajajara – BRAZIL, Humberto Peixoto – BRAZIL, Firmino Silvino Guajajara – BRAZIL, Raimundo Bernicio Graphic art and layout: Guajajara – BRAZIL, Josué Bernardo Marcial Santos (Mixe-Popoluca) – MEXICO polygrafica, Munich

Print and production: Despite being based on thorough research, this list of activists murdered in 2019 Typosatz Namisla, Munich makes no claims of being complete. Information on politically motivated crimes of violence in remote regions is rarely made public. Besides the abovementioned indigenous activists, non-indigenous human rights Translation: and environmental activists lost their lives in 2019 as well. Sabine Lang Museum Fünf Kontinente Maximilianstraße 42 . 80538 München T +49 (089) 210 136 100 . F +49 (089) 210 136 247 [email protected]

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In cooperation with the Institute of Social and Cultural Anthropology, Ludwig-Maximilians-Universität München Cover Picture: Necklace (detail), meni jarapê, Xikrín, Mebêngôkre/Kayapó, Rio Xingú, Brazil, before 1965 © Museum Fünf Kontinente, photo: Nicolai Kästner

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