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Die Begegnung Mit Dem Fremden

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Die Begegnung Mit Dem Fremden DIE BEGEGNUNG MIT DEM FREMDEN EUROPÄISCHE EINFLÜSSE AUF DIE INDIGENE KUNST NORDWESTAMERIKAS Inauguraldissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich Philosophie und Geschichtswissenschaften der Johann Wolfgang Goethe-Universität zu Frankfurt am Main vorgelegt von Alexandra V. Roth aus Frankfurt am Main Im Juni 2002 i Writing a book is an adventure. To begin with, it is a toy and an amusement. Then it becomes a mistress, then it becomes a master, then it becomes a tyrant. The last phase is that just as you are about to be reconciled to your servitude, you kill the monster, and fling him to the public. (Winston Churchill ) VORWORT An erster Stelle möchte ich von ganzem Herzen dem Betreuer dieser Arbeit, Herrn Prof. Dr. Christian F. Feest, für seine jahrelange Unterstützung und Förderung danken. Er stand mir stets großzügig mit hilfreichen Informationen zur Seite und hat mir durch seine zahlreichen internationalen Kontakte so manchen Weg geebnet. Darüber hinaus hat Herr Prof. Feest mich herzlich in seinen Kreis aufgenommen und durch interdisziplinäre Gesprächsrunden und außeruniversitäre Aktivitäten meine Freude an der Museumsethnologie und den Indianern Nordamerikas noch intensiviert. Mein besonderer Dank gilt auch Frau PD. Dr. María Susana Cipolletti, Institut für Altamerikanistik und Ethnologie, Universität Bonn. Sie hat mein Interesse an der Ethnologie geweckt und meinen Werdegang seit 1989 kontinuierlich verfolgt. Frau Dr. Cipolletti hat mich immer wohlwollend unterstützt und mir auf vielfältige Weise mit Rat und Tat beigestanden. Für die Gewährung eines Promotionsstipendiums für den Zeitraum zwischen Juli 1996 und März 1999 bin ich der Hanns-Seidel-Stiftung für immer dankbar. Insbesondere gilt mein Dank Herrn Prof. Hans-Peter Niedermeier, Leiter des Förderungswerkes, und Herrn Dr. Rudolf Pfeifenrath, Referent der Hanns-Seidel-Stiftung eV, München. Darüber hinaus erhielt ich in den Seminaren der Hanns-Seidel-Stiftung im Bildungszentrum Wildbad Kreuth und Kloster Banz zahlreiche Anregungen, die wesentlich zum Gelingen dieser Arbeit beigetragen sowie meine berufliche Laufbahn beeinflusst haben. Mein herzlicher Dank für die Mithilfe bei der Entstehung dieser Arbeit gilt Toivo Sikka und den Mitarbeitern des Nationalmuseums in Tartu, Estland. Sie unterstützten mich tatkräftig bei der Übersetzung von Museumsdokumentationen, stellten Literatur zur Verfügung und ermöglichten es mir, bislang nicht publizierte Sammlungen von unschätzbarem Wert bearbeiten zu dürfen. Nicht vergessen werde ich die estnische Gastfreundschaft und die außergewöhnliche Hilfsbereitschaft, die mir in Tartu zuteil wurden. Des Weiteren möchte ich Toomas Tamla und den Mitarbeitern des Historischen Museums in Tallinn dafür danken, dass sie für mich kurzfristig ihre Magazine öffneten und mir bei der Übersetzung der russischen Museumsdokumentation behilflich waren. ii Mein besonderer Dank gilt außerdem Steve Henrikson, Alaska State Museum, Juneau, und Peter Corey, Sheldon Jackson Museum, Sitka. Sie ermöglichten mir den Einblick in schwer zugängliches Archivmaterial und ließen mich an ihrem reichen Wissensfundus der Tlingit- Kunst und -Kultur partizipieren. Ein herzliches Dankeschön geht auch an: Dr. Sonja Schierle, Lindenmuseum, Stuttgart; Prof. Manfred Fansa, Staatliches Museum für Naturkunde und Vorgeschichte, Oldenburg; Dr. Mona Suhrbier, Museum der Weltkulturen, Frankfurt. Rebecca Andrews, Burke Museum, Seattle; Karen Kramer, Peabody Essex Museum, Salem Massachusetts; Sondra Stanway, Alaska State Library, Juneau; Kathryn H. Shelton, Alaska Historical Collections; Dee Longenbaugh, The Observatory, Juneau; Felicia G. Pickering, Department of Anthropology Smithsonian Institution, Washington D.C.; Michael Stafford, Cranbrook Institute of Science, Michigan; Audra Simpson, Montreal; Neil Curtis, Historic Collections Marischal Museum, Aberdeen Scotland; Lynn Wall, National Museum of Scottland, Edinburgh. Des Weiteren sei folgenden Personen für die zahlreichen Gespräche und hilfreichen organisatorischen Hinweise anlässlich meiner Alaska-Aufenthalte herzlichst gedankt: Sergei Kan, Dartmouth College; Nora Marks Dauenhauer und Richard Dauenhauer, Juneau; Bill Holm, Burke Museum, Seattle; Robin Wright, Burke Museum Seattle; Steve Brown, Seattle; Nathan Jackson, Ketchikan; Will Burkhardt, Cultural Center Sitka. Mein aufrichtiger Dank geht an Cecilia Kunz (Kintoow) und Micalyne Ann Kunz (Ka Kee'), Juneau. Sie vermittelten mir grundlegende Einblicke in die Tlingit-Kultur, die ich vor allem während meines Besuches der "Celebration 2000" in Juneau näher kennen lernen durfte. Meiner Freundin Susanne Wallossek M.A., Köln, und Kollegin Dr. Gudrun Bucher, Göttingen, die das Manuskript gelesen und kommentiert haben, sei an dieser Stelle ebenfalls ganz herzlich gedankt. Last but not least einen innigen Dank an meine Familie, die mir stets eine Stütze war und der diese Arbeit gewidmet sei. Frankfurt am Main, Juni 2002 iii INHALTSVERZEICHNIS 1. EINLEITUNG 1 1.1 Thema und Ziel der Arbeit 1 1.2 Zu Quellenlage und Forschungsstand 3 1.3 Anmerkungen zum Vorgehen 4 1.4 Aufbau der Arbeit 6 1.5 Kunst und Natur 9 1.5.1 Das Kulturareal der Nordwestküste Nordamerikas 10 1.6 Der Bedeutungswandel von "Kunst" der Nordwestküste 17 1.6.1 Die Kommerzialisierung der Nordwestküstenkunst 19 1.6.2 "At.óow" als kulturelles Konzept 21 1.6.3 Charakteristika und gesellschaftsspezifischer Kontext der Nordwestküstenkunst 22 1.7 Das Phänomen "Fremdheit" 26 2. ZUR GESCHICHTE DES SAMMELNS VON KUNST AN DER NORDWESTKÜSTE 33 2.1 Die ersten Nordwestküstensammlungen 33 2.2 US-amerikanische Sammlungen 35 2.3 Die Sammlungen der ersten Touristen 37 2.4 Europäische Sammlungen 39 3. HISTORISCHE FREMDHEIT IM SPIEGEL DES KULTURKONTAKTES 45 3.1 Lituya Bay: Die Sicht der Fremden aus indigener Perspektive 45 3.1.1 Die Lapérouse-Version: Die Sicht der Fremden aus europäischer Perspektive 49 3.2 Symbole früher europäisch-indigener Begegnungen 54 3.3 Anooshi, King George und Boston Men: Historischer Hintergrund 56 3.3.1 Die ersten europäischen Expeditionen 56 3.3.2 Handel mit China 57 3.3.3 Indigene Handelstaktiken 59 3.4 Stereotypen 63 3.5 Das Leben in Russisch-Amerika 65 3.5.1 Russisch-indigene Beziehungen 68 3.5.2 Das Ende Russisch-Amerikas und die Ankunft der Wáashdan Kwáan 69 iv 4. RUSSISCH-INDIGENE UND AMERIKANISCH-INDIGENE DIPLOMATISCHE BEZIEHUNGEN 71 4.1 Diplomatische Ouvertüren 71 4.1.1 Verleihung von Medaillen 72 4.1.2 "X'ux'latseeni" – Zertifikate 73 4.1.3 Die "igrushka" - das "russische Potlatch" 74 4.1.4 Der "Glavny Koloshenskii Toion": "Oberhäuptling" der Tlingit 75 4.1.5 Diplomatisches Protokoll 75 4.1.6 Diplomatie unter amerikanischer Flagge 78 4.2 Diplomatische Geschenke: Der Doppelkopfadler 78 4.2.1 Russische Prestigegeschenke: Die Seide der Diplomaten 81 4.2.2 Baranovs Kettenpanzer 83 4.2.3 Prestigegeschenke indigenen Charakters: Tinnáa und Potlatchhüte 83 4.3 Resümee 85 5. DIE FREMDE WIRKLICHKEIT: EINFLÜSSE AUS ÜBERSEE AUF KÜNSTLERISCHE TECHNIKEN UND MATERIALIEN 86 5.1 Holzschnitzerei: Kunst männlicher Spezialisten 86 5.2 Kanus 87 5.2.1 Herstellung und Nutzung von Kanus 87 5.2.2 Rituelle Bedeutung von Kanus 88 5.2.3 Modell-Kanus 90 5.2.3.1 Typologie 92 5.2.3.2 Ausstattung 94 5.2.3.3 Head Canoe-Modelle 95 5.2.3.4 Modelle des Nördlichen Typs 98 5.2.4 Resümee 99 5.3 Holzpfeifen 101 5.3.1 Verwendung von Tabak im indigenen Kontext 101 5.3.2 Botanische Einordnung 103 5.3.3 Importierter Tabak und Pfeifen 105 5.3.4 Zur Ikonographie der Holzpfeifen 107 5.3.5 Resümee 110 5.4 Skulpturen 111 5.4.1 Haida-Skulpturen 111 5.4.2 Frauendarstellungen im traditionellen Kunstschaffen der Nordwestküste 117 v 5.4.3 Realistische Darstellungen 119 5.4.4 Resümee 120 5.5 Masken 122 5.5.1 Kunst und Kommerz 122 5.5.2 Masken im historischen Kontext 124 5.5.3 Indigene- und Touristenkunstmaskenproduktion 126 5.5.4 Frühe Handelskunstmasken 128 5.5.5 Kopfschmuck 131 5.5.6 Resümee 133 5.6 TEXTILE TECHNIKEN 135 5.7 Korbherstellung: "Der weibliche Weg" 135 5.7.1 Ökonomische Bedeutung des Touristenmarktes 138 5.7.1.1 Entstehen neuer Korb-Formen 140 5.7.1.2 Adaption fremder Materialien 147 5.7.1.3 Die Farbpalette 148 5.7.1.4 Ökonomisierung der Techniken 149 5.7.1.5 Motive 150 5.7.1.6 Hybride Formen 154 5.7.1.7 Chronologische Einordnung 156 5.7.1.8 Resümee 160 5.8 Indigene Kleidung und importierte Textilien 162 5.8.1 Chilkat-Decken 163 5.8.1.1 Die Chilkat im kulturellen Kontext 163 5.8.1.2 Der Herstellungsprozess 166 5.8.1.3 Die Signatur 169 5.8.1.4 Motive und Motivwahl 170 5.8.1.5 Die indigene Farbpalette 172 5.8.1.6 Symbolische und materielle Funktionen von Chilkats 174 5.8.1.7 Die Tunika – eine besondere Variante der Chilkat 177 5.8.2 Button Blankets 178 5.8.3 Perlenstickerei 179 5.8.4 Europäische Kleidung 181 5.8.5 Zusammenfassung 185 vi 5.9 Metallurgie 187 5.9.1 Zur Etymologie des Kupfer-Begriffes 187 5.9.2 Kupfer im Visier der Mythen 189 5.9.3 Kupfer-Lagerstätten 190 5.9.4 Chronologische Einordnung 191 5.9.5 Verschiedene Mess- und Analysetechniken 192 5.9.6 Kupferschmuck 195 5.9.7 Eisen und Eisenverarbeitung 198 5.9.8 Mythen 203 5.9.9 Silber und Silberverarbeitung 205 5.9.10 Silberschmiedekunst und Silberschmiede 207 5.9.11 Silberschmuck 208 5.9.12 Motive und deren Ursprung 210 5.9.13 Zusammenfassung 216 6. SCHAMANENKUNST 218 6.1 Die Rolle des Schamanen 218 6.1.1 Berufung und Anforderungen an den Schamanen 219 6.1.2 Der Schamane als "Fremder" bzw. kultureller Spezialist für das Fremde 221 6.2 Charakteristika der Schamanenkunst 224 6.3 Fremde Materialien 227 6.4 Schamanengräber 230 6.5 Untergang des Schamanismus 231 6.6 Schamanen-Paraphernalien 232 6.6.1 Masken 232 6.6.2 Rasseln 235 6.6.3 Amulette 236 6.7 Schamanische Sujets bei Handelskunstobjekten 238 6.8 Resümee 240 7. DER FREMDE IM SPIEGEL DES INDIGENEN KÜNSTLERS 242 7.1 Die Darstellung des Fremden und seiner Welt 242 8.
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