Im Beitrag werden die historischen Sammlungen des Lautarchivs der Humboldt-Universität zu Berlin ... more Im Beitrag werden die historischen Sammlungen des Lautarchivs der Humboldt-Universität zu Berlin behandelt, welche als ein Ort kolonialer und hegemonialer Wissensproduktion gelten können. Hervorgegangen aus dem laufenden Dissertationsprojekt zu nicht-westlichen Präsenzen im Lautarchiv, bietet der Aufsatz eine Annäherung an die historischen Entwicklungen des Archivs und plädiert für eine (selbst)kritische und postkoloniale Auseinandersetzung mit den Tonaufnahmen sowie den Praktiken des Sammelns und Archivierens. Ein Tondokument, das 1926 im Kontext einer sogenannten „Indienschau“ in Berlin entstanden ist, wird dabei exemplarisch analysiert. Deutlich wird, dass zu einem sensiblen Umgang mit den Tonaufnahmen neben der Untersuchung der wissenschaftshistorischen Entstehungsbedingungen der Sammlung auch die Frage gehört, inwieweit die zeitgenössischen Forschungspraktiken als machtdurchzogen und hierarchisierend einzustufen sind. Abb. 1: Schellackplatten im Lautarchiv. Foto: Irene Hilden
Sammeln. Der Kosmos wissenschaftlicher Objekte, 2021
In Berlin, two sound archives emerged under colonial auspices and were part of the colonial proje... more In Berlin, two sound archives emerged under colonial auspices and were part of the colonial project: the Lautarchiv at Humboldt University, which encompasses sound produced mainly in the heart of the German capital in the first half of the 20th century, and the Phonogramm-Archiv at the Berlin Ethnological Museum, with voices recorded in colonial territories and brought to the metropole by travelers or ethnologists. Along the years, these collections have contributed to a preservation of colonial structures of power and knowledge. As a way to engage with such voices, we discuss possible approaches to sonic legacies and reflect on the potentials and limitations of grappling with sensitive sound material. By outlining the institutional histories of colonial sound collections and focusing on two particular recordings, we address the double sensitive nature of historical audio sources. We aim to raise questions about the politics of access and presentation of sensitive sound material and argue for a plurality of interpretations of colonial sound archives.
On December 16, 2020, the Humboldt Forum—a major cultural centre in the middle of Berlin—official... more On December 16, 2020, the Humboldt Forum—a major cultural centre in the middle of Berlin—officially opened. Due to the COVID-19 pandemic, the opening took place online and consisted of two events: a press conference and an opening ceremony. Ambitious and expensive, the Humboldt Forum has been fraught with controversy ever since it was conceived. And even though, as of February 2021, the institution remains closed to visitors, the debate around it continues to be heated. This essay reflects on the Forum’s digital opening, the protests it provoked, and their media coverage. It argues that the institution’s present is complicated, but its future will be even more so.
Employing the theoretical framework of participatory countermonuments, this essay discusses Phili... more Employing the theoretical framework of participatory countermonuments, this essay discusses Philip Kojo Metz’s performance and sculpture SORRYFORNOTHING (2020), which can now be seen in the ‘Berlin Global’ exhibition at the Humboldt Forum, and the ‘Moving Mountains’ (2021–2022) exhibition of the artist collective PARA and artists Rehema Chachage and Valerie Asiimwe Amani, at the GRASSI Museum für Völkerkunde zu Leipzig.
Im Beitrag werden die historischen Sammlungen des Lautarchivs der Humboldt-Universität zu Berlin ... more Im Beitrag werden die historischen Sammlungen des Lautarchivs der Humboldt-Universität zu Berlin behandelt, welche als ein Ort kolonialer und hegemonialer Wissensproduktion gelten können. Hervorgegangen aus dem laufenden Dissertationsprojekt zu nicht-westlichen Präsenzen im Lautarchiv, bietet der Aufsatz eine Annäherung an die historischen Entwicklungen des Archivs und plädiert für eine (selbst)kritische und postkoloniale Auseinandersetzung mit den Tonaufnahmen sowie den Praktiken des Sammelns und Archivierens. Ein Tondokument, das 1926 im Kontext einer sogenannten „Indienschau“ in Berlin entstanden ist, wird dabei exemplarisch analysiert. Deutlich wird, dass zu einem sensiblen Umgang mit den Tonaufnahmen neben der Untersuchung der wissenschaftshistorischen Entstehungsbedingungen der Sammlung auch die Frage gehört, inwieweit die zeitgenössischen Forschungspraktiken als machtdurchzogen und hierarchisierend einzustufen sind. Abb. 1: Schellackplatten im Lautarchiv. Foto: Irene Hilden
Sammeln. Der Kosmos wissenschaftlicher Objekte, 2021
In Berlin, two sound archives emerged under colonial auspices and were part of the colonial proje... more In Berlin, two sound archives emerged under colonial auspices and were part of the colonial project: the Lautarchiv at Humboldt University, which encompasses sound produced mainly in the heart of the German capital in the first half of the 20th century, and the Phonogramm-Archiv at the Berlin Ethnological Museum, with voices recorded in colonial territories and brought to the metropole by travelers or ethnologists. Along the years, these collections have contributed to a preservation of colonial structures of power and knowledge. As a way to engage with such voices, we discuss possible approaches to sonic legacies and reflect on the potentials and limitations of grappling with sensitive sound material. By outlining the institutional histories of colonial sound collections and focusing on two particular recordings, we address the double sensitive nature of historical audio sources. We aim to raise questions about the politics of access and presentation of sensitive sound material and argue for a plurality of interpretations of colonial sound archives.
On December 16, 2020, the Humboldt Forum—a major cultural centre in the middle of Berlin—official... more On December 16, 2020, the Humboldt Forum—a major cultural centre in the middle of Berlin—officially opened. Due to the COVID-19 pandemic, the opening took place online and consisted of two events: a press conference and an opening ceremony. Ambitious and expensive, the Humboldt Forum has been fraught with controversy ever since it was conceived. And even though, as of February 2021, the institution remains closed to visitors, the debate around it continues to be heated. This essay reflects on the Forum’s digital opening, the protests it provoked, and their media coverage. It argues that the institution’s present is complicated, but its future will be even more so.
Employing the theoretical framework of participatory countermonuments, this essay discusses Phili... more Employing the theoretical framework of participatory countermonuments, this essay discusses Philip Kojo Metz’s performance and sculpture SORRYFORNOTHING (2020), which can now be seen in the ‘Berlin Global’ exhibition at the Humboldt Forum, and the ‘Moving Mountains’ (2021–2022) exhibition of the artist collective PARA and artists Rehema Chachage and Valerie Asiimwe Amani, at the GRASSI Museum für Völkerkunde zu Leipzig.
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