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Zwölf Kinderreime

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Bibliographische Daten

fullscreen: Zwölf Kinderreime

Monographie

Strukturtyp:
Monographie
Werks-URN (URL):
https://digi.evifa.de/viewer/resolver?urn=urn:nbn:de:kobv:11-716845
URN:
urn:nbn:de:kobv:11-716845
Persistenter Identifier:
BV048610590
Titel:
Zwölf Kinderreime
Untertitel:
aus Klaus Groth's Vaer de Gaern : op. 17.
Autor:
Bronsart, Ingeborg von
Illustrator:
Richter, Ludwig
Erscheinungsort:
Leipzig
Verlag:
Verlag von Georg Wigand
Erscheinungsjahr:
1882
Zusätzliche Information:
Text in deutsch und englisch
Signatur:
2023 SB 1159
Lizenz:
Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)
Sammlung:
Allgemeiner Bestand
Wissensgebiet:
Sozial- und Kulturanthropologie > Kunst und Wissen

Vorderer Einband

Strukturtyp:
Vorderer Einband
Sammlung:
Allgemeiner Bestand

Inhaltsverzeichnis

Inhaltsverzeichnis

  • Tribus
  • Tribus, 63.2014
  • Vorderer Einband
  • Vorderer Buchspiegel
  • Vorblatt
  • Titelseite
  • Impressum
  • Leerseite
  • Inhaltsverzeichnis: Inhalt
  • Leerseite
  • Zeitschriftenheft: Bd. 63, 2014
  • Castro, Inés de: Editorial
  • Leerseite
  • Protokoll: Jahresbericht
  • Leerseite
  • Feest, Christian: Painted Jaguar Hides of the Bororo da Campanha
  • Karte: Fig. 1 The Bororo da Campanha and their relatives.
  • Abbildung: Fig. 2 Eastern Bororo man standing in front of a suspended jaguar hide painted with the pattern aije atugo ("painting of the wooden bullroarer") belonging to the Aroroe clan. Color print after a drawing by Erwin Freundt executed in 1941 in Tori-paru (Freundt 1947: pl 15)
  • Abbildung: Fig. 3 Plan of an ideal Eastern Bororo village showing the patterns of painted jaguar hides associated with the clans. Both the village plans and the painted patterns are based on Albisetti and Venturelli (1962)
  • Abbildung: Fig. 4 Basic structure of the Eastern Bororo jaguar hide paintings associated with particular clans (left) and the deviant pattern okoge bakororo atugo ("painting of a variety of dourado") without any known clan affiliation (right)
  • Abbildung: Fig. 5 The pattern aroe eceba o-iaga atugo (a) is said to represent the tail feathers of the harpy eagle, the kuruguwa o-iaga atugo (b) those of the yellowheaded caracora. Both are owned by the Apiborege clan. Fig. 6 Variants of the bokodori bo-type: bokodor bo coreu (a, after Albisetti and VentureIII 1962:236) bokodori bo coreu (b, Museu das Culturas Dom Bosco, ETBO 531384); bokodori bo kujagureu (c, Museu das Culturas Dom Bosco, ETBO 583624)
  • Abbildung: Fig. 7 Painted jaguar hide ("aduga böli"), probably collected in October 1827 among the Bororo da Campanha of Pao Seco by Johann Natterer (Weltmuseum Wien, 890). 150 by 108 cm. Photograph: Atelier Kunsthistorisches Museum, Wien. Fig. 8 Painted jaguar hide collected in October 1884 among the Bororo da Campanho of Lagoa Grande near Descalvado by Richard Rohde (Ethnologisches Museum Berlin, VB1324). 142 by 104 cm. [Copyright] Staatliche Museen zu Berlin, Ethnologisches Museum/Claudia Obrocki
  • Abbildung: Fig. 9 Drawing by Richard Rohde showing a Bororo da Campanha dancer attired for the "Fararu dance." He is wearing a headdress of a vertical bundle of macaw feathers, a skirt of palm leaves, and dew claw leg rattles, all of which were also used in the Jaguar dance, as were the plain gourd rattles. The feather crown worn in front of the vertical feathers is of a different type. Photo courtesy Ethnologisches Museum Berlin - SMPK. Fig. 10 Drawing by Richard Rohde including a depiction of the rear view of the vertical headdress of macaw feathers to which is attached the snake-skin back ornament used in the Jaguar dance. Photo courtesy Ethnologisches Museum Berlin - SMPK
  • Abbildung: Fig. 11 Painted jaguar hide collected between 1885 and 1893 among the Bororo da Campanha by Emil Hassler (Museum der Kulturen, Basel, IVc2423; gift of Emil Hassler, 1919). 170 by 142 cm. Photograph: Derek Li Wan Po, 2011. [Copyright] Museum der Kulturen Basel. Switzerland
  • Abbildung: Fig. 12 "Dancing dress of a Bairi (Bororo priest)." Photograph from Hassler (1897:no. 22). The outfit is on incongruous blend of Eastern Bororo and Bororo da Campanha items, including a hair mask and a pariko-headdress. [Copyright] Museum der Kulturen Basel. Switzerland. Photo collection (F)IVc336_K (Emil Hassler collection)
  • Abbildung: Fig. 13 Painted jaguar hide collected in July 1895 among the Bororo da Campanha near Descalvado by Julio Koslowsky (Museo de La Plata, 3070). 140 by 109cm. Photograph: Héctor Lahitte. Fig. 14 Painted jaguar hide collected between April and August 1931 from the Bororo da Campanha at Laguna near Descalvado by Vincent Petrullo (University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, 31-48-520). 140 by 102 cm. Photograph: Christian Feest
  • Abbildung: Fig. 15 "Back view of the jaguar costume.” Photograph by Floyd Crosby between April and August 1931 among the Bororo da Campanha at Laguna near Descalvado. Courtesy of University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, image #40471. Fig. 16 "The impersonator of the Jaguar." Photograph by Floyd Crosby between April and August 1931 among the Bororo da Campanha at Laguna near Descalvado. Courtesy of University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, Image #244482
  • Abbildung: Fig. 17 "The Jaguar dance of the Bororo da Campanha." The women and children on the left are dancing, while the men on the right are mostly watching. One of the men holds a gourd rattle. Photograph by Floyd Crosby, between April and August 1931, at Laguna near Descalvado. Courtesy of University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia, image #27725
  • Abbildung: Fig. 18 The Jaguar dance of the Bororo da Campanha." [...] Photograph by Floyd Crosby, between April and August 1931, at Laguna near Descalvado. Courtesy of University of Pennsylvania Museum or Archaeology and Anthropology, Philadelphia, image #27726. Figs. 19-20 The Jaguar dance of the Bororo da Campanha, November 1925. Photographs by Frederick Brandenburg (19) and Frederic Miller (20), near Descalvado, Denver Museum of Science and Nature, Denver, photo collection, BN85-194, Mi25-117, Mi25-119. [Copyright] Denver Museum of Nature & Science
  • Abbildung: Figs. 21-24 The Jaguar dance of the Bororo da Campanha, November 1925. Photographs by Frederick Brandenburg (23) and Frederic Miller (21-22, 24), near Descalvado, Denver Museum of Science and Nature, Denver, photo collection, Mi25-119, Mi25-116, BN85-232, Mi25-017. [Copyright] Denver Museum of Nature & Science
  • Abbildung: Fig. 25 Painted jaguar hide attributable to the Bororo da Campanha, exchanged in 1936 from Patty Frank (Linden-Museum, Stuttgart, 115204). 151 by 108 cm
  • Abbildung: Fig. 26 The outfit of the jaguar impersonator. Based on a detail of Fig. 25
  • Abbildung: Fig. 27 Comparative view of the patterns painted on the six known painted jaguar hides of the Bororo da Campanha. Fig. 28 Comparison of the sewing and painting patterns of the painted jaguar hides of the Bororo da Campanha (left) and Eastern Bororo (right)
  • Abbildung: Fig. 29 Structure of the Bororo da Campanha jaguar hide paintings. As can be seen in Fig. 27, the number of upper and lower fields may vary from the standard of two upper and three lower fields
  • Abbildung: Fig. 30 A Tánu impersonator, Selk'nam. Tierra del Fuego. Photograph by Martin Gusinde, 1922 (?). Anthropos-Institut, photo collection GU 24.7
  • Abbildung: Fig. 31 Reconstruction of the painted patterns on the fur cloaks worn by the four Tanu impersonators among the Selk'nam, based on the descriptions given by Martin Gusinde ( 1931). From left to right: the Tánu of the North, East, South, and West
  • Werlich, Uta: Schätze aus dem fernen Japan. Die Sammlung Baels im Linden-Museum Stuttgart
  • Bautzke, Joachim K.: Drei Kataloge oder Bildlisten der von F. Beato in Myanmar angefertigten Fotografien
  • Habighorst, Ludwig V.: Ragamala des Kshemakarna und die Ragamalas der Pahari-Region
  • Baier, Martin: 19th Century German and Dutch Reflections on the Ngaju Dayak Religion
  • Leerseite
  • Zeitschriftenrezension: [Buchbesprechung] Süd- und Südostasien
  • Zeitschriftenrezension: [Buchbesprechung] Ozeanien
  • Zeitschriftenrezension: [Buchbesprechung] Orient
  • Zeitschriftenrezension: [Buchbesprechung] Lateinamerika
  • Leerseite
  • Autorenindex
  • Leerseite
  • Nachsatzblatt
  • Hinterer Buchspiegel
  • Hinterer Einband
  • Farbkeil

Volltext

Christian Feest 
Painted Jaguar Hides of the Bororo da Campanha 
97 
Fig. 12 "Dancing dress of a Bairi (Bororo priest)." 
Photograph from Hassler (1897:no. 22). The outfit is 
on incongruous blend of Eastern Bororo and Bororo 
ha Campanha items, including a hair mask and a pa- 
riko-headdress. © Museum der Kulturen Basel. Switzer 
land. Photo collection (F)IVc336_K (Emil Hassler collec 
tion). 
the Royal Ontario Museum in Toronto, the Royal Ethnographic Museum in Berlin, the Peabody Museum of Harvard 
University, 14 and the New Brunswick Museum in St. John. Another large group, about 2400 objects, was presented by 
the collector in 1919 to the present Museum der Kulturen Basel (which subsequently traded some “duplicates” to the 
museums in Zurich, St. Gallen, Burgdorf, Geneva, Munich, and Frankfurt). About 500 of the objects given to Basle were 
from the “Bororo [da Campanha]” and “Coroados” [Eastern Bororo], while the material acquired by Chicago apparently 
only included no Bororo da Campanha objects. 
A partial printed catalog of this collection (Hassler 1897) specifies the “Aldeia da Lagoa” [Laguna near Descalvado] and 
San Matías as the places of origin of the Bororo da Campanha material, but makes no reference to the painted jaguar 
hide. Unfortunately, Hassler’s manuscript catalog, also sent to Basle and obviously used in cataloging the collection, 
cannot presently be located. It may have included information on whether specific items, such as the jaguar hide, had 
been collected at Laguna or San Matías as well as further contextual data. All we can say today is that the painted hide 
could have been part of one oí four “shaman’s costumes” noted in the printed catalog. Of this catalog only one copy is 
presently known to exist, and this copy lacks the plates originally accompanying it. The image of one of the four “sha 
man’s costumes” (without the painted hide), designated as “Bororo,” has survived pasted to an index card in the photo 
archives oí the Museum der Kulturen in Basle and shows it to be a strange mixture of heterogeneous artifacts put together 
for display purposes (Fig. 12). 
In the early 1890s Julio Germán Koslowsky (1866-1923), a native of Lithuania who had come to Argentina in the 1880s, 
undertook biological and anthropological fieldwork in Paraguay and the Mato Grosso for the Museo de la Plata. This 
included a visit in July 1894 to the Bororo da Campanha near Descalvado as well as to those living in San Matías, which 
is described in a publication notable also for its pungent criticism of the treatment of the Indians at the hands of the Leite 
family (Koslowsky 1895). Since he observed a “Jaguar dance” among the Bororo da Campanha of Descalvado it is likely 
that it he obtained the fourth painted hide at this place (Koslowsky 1895:lám. 1; Fig. 13). 
Koslowsky’s account includes the description of two different Jaguar dances, which is worth being quoted in full: 
“The Bororo were dancing the Jaguar dance, which consisted of men and women forming a line behind an Indian 
adorned with feathers, straw, and necklaces made of teeth, claws, and a jaguar hide, representing a man into whom had 
entered the soul of the dead jaguar whose presence was manifested by the leaps and furious movements of the human 
body that another Bororo in front of him, the doctor of the village, supported by some elders, sought to conjure. The 
Bororo representing the raging jaguar wore on his head a crown or diadem of red macaw feathers (Ara macao), with the 
tail feathers placed in the center of the forehead and the wingtip feathers forming the sides; there were also trimmed 
feathers directed downward and secured with cotton thread to a thin wheel. His head was also adorned with a crown of 
jaguar claws placed in a row with the tips pointing upward. The face beneath this crown was covered by a fringed mask
	        

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