Carlotta - the museum database

1969.29.0038 :: mask (ansiktsmask)

Object description

Mask för Makishi-maskeraden som representerar en kvinnlig anmodersande. Baksidan är tillverkad av barktyg uppspänt på vidjestomme medan ansiktet är av trä, målat med röd färg och har tatueringar i form av symboler.

I maskeraden kan samma mask användas för att gestalta olika kvinnliga karaktärer och värderingar beroende på sammanhanget (attribut, kostym, dansrörelser), till exempel Pwo (ung kvinna) eller Kashinakaji (äldre kvinna). Makishi representerar och förkroppsligar förfadernas andar genom ett hundratal olika karaktärer som alla har sina specifika egenskaper, attribut, budskap, sånger, rytmer och danser.

Mukanda och tillhörande maskdanser (Makishi) praktiseras av flera etniska grupper i Zambia (såsom luvale, mbunda, chokwe och luchazi) liksom även i Angola och Kongo-Kinshasa. Uppgiften om lozi-folket i Generalkatalogen är felaktig eftersom lozi inte praktiserar Mukanda eller Makishi. Felet uppmärksammades i oktober 2023 vid ett seminarium med Mwata Chibweka Bitonde (funktionär i mukanda-ritualen och äldste hos luvale-folket i Zambia), Victoria Phiri Chitungu (forskare och intendent) och Samba Yonga (grundare av Women's History Museum of Zambia).

Data elements
References (1)

Inventarienummer

1969.29.0038

Sakord

Sakord, engelska

Lokalt namn

Titel, engelska

Etnisk grupp - ursprung

Chokwe

Beskrivning: Chokwe, även kallade tchokwe, kioko, bajokwe, chibokwe, kibokwe, ciokwe, cokwe eller badjok, är ett bantufolk i Central- och Sydafrika.Chokwe%2C%20%C3%A4ven%20kallade%20tchokwe%2C%20kioko%2C%20bajokwe%2C%20chibokwe%2C%20kibokwe%2C%20ciokwe%2C%20cokwe%20eller%20badjok%2C%20%C3%A4r%20ett%20bantufolk%20i%20Central-%20och%20Sydafrika.
Källor, Wikipedia - beskr. av: en.wikipedia.org

Luchazi

Luvale

Källor, Wikipedia - beskr. av: en.wikipedia.org

Mbunda

Källor, Wikipedia - beskr. av: en.wikipedia.org

Land - ursprung

Zambia

Källor, Wikipedia - beskr. av: sv.wikipedia.org

Land, engelska - ursprung

Zambia

Världsdel - ursprung

Afrika

Världsdel, engelska - ursprung

Africa

Beskrivning

Beskrivning - engelska

Mask for the Makishi masquerade which represents a female ancestral spirit. The back of the mask is made from bark cloth supported by a wicker frame, while the face is made from painted wood, the surface of which has incisions to represent symbolic tatoos. In the Makishi masquerade, the same mask may be used to embody several different female characters depending on the context (attributes, clothes, dance movements), for example Mwana Pwo (young woman) or Kashinakaji (old woman). Makishi represent and embody spirits of the ancestors who visit the living at important social and cultural events like the men's initiation ritual Mukanda and ceremonies of political office. There are more than a hundred different Makishi characters, each with its specific traits, attributes, messages, songs, rythms, and dances. Mukanda and Makishi are performed by several communities in Western and Northwestern Zambia (such as a Luvale, Mbunda, Chokwe, Luchazi), as well as in neighbouring areas of Angola and Democratic Republic of Congo. The note in the General Catalogue associating the object with the Lozi people is inaccurate, since the Lozi do not practice Mukanda or perform Makishi. The catalogue error was brought to public attention in a seminar in October 2023 by Mwata Chibweka Bitonde (Mukanda official and elder of the Luvale community of Zambia), Victoria Phiri Chitungu (researcher and curator), and Samba Yonga (co founder of the Women's History Museum of Zambia).Mask%20for%20the%20Makishi%20masquerade%20which%20represents%20a%20female%20ancestral%20spirit.%20The%20back%20of%20the%20mask%20is%20made%20from%20bark%20cloth%20supported%20by%20a%20wicker%20frame%2C%20while%20the%20face%20is%20made%20from%20painted%20wood%2C%20the%20surface%20of%20which%20has%20incisions%20to%20represent%20symbolic%20tatoos.%20In%20the%20Makishi%20masquerade%2C%20the%20same%20mask%20may%20be%20used%20to%20embody%20several%20different%20female%20characters%20depending%20on%20the%20context%20%28attributes%2C%20clothes%2C%20dance%20movements%29%2C%20for%20example%20Mwana%20Pwo%20%28young%20woman%29%20or%20Kashinakaji%20%28old%20woman%29.%0D%0A%0D%0AMakishi%20represent%20and%20embody%20spirits%20of%20the%20ancestors%20who%20visit%20the%20living%20at%20important%20social%20and%20cultural%20events%20like%20the%20men%27s%20initiation%20ritual%20Mukanda%20and%20ceremonies%20of%20political%20office.%20There%20are%20more%20than%20a%20hundred%20different%20Makishi%20characters%2C%20each%20with%20its%20specific%20traits%2C%20attributes%2C%20messages%2C%20songs%2C%20rythms%2C%20and%20dances.%20Mukanda%20and%20Makishi%20are%20performed%20by%20several%20communities%20in%20Western%20and%20Northwestern%20Zambia%20%28such%20as%20a%20Luvale%2C%20Mbunda%2C%20Chokwe%2C%20Luchazi%29%2C%20as%20well%20as%20in%20neighbouring%20areas%20of%20Angola%20and%20Democratic%20Republic%20of%20Congo.%20The%20note%20in%20the%20General%20Catalogue%20associating%20the%20object%20with%20the%20Lozi%20people%20is%20inaccurate%2C%20since%20the%20Lozi%20do%20not%20practice%20Mukanda%20or%20perform%20Makishi.%20The%20catalogue%20error%20was%20brought%20to%20public%20attention%20in%20a%20seminar%20in%20October%202023%20by%20Mwata%20Chibweka%20Bitonde%20%28Mukanda%20official%20and%20elder%20of%20the%20Luvale%20community%20of%20Zambia%29%2C%20Victoria%20Phiri%20Chitungu%20%28researcher%20and%20curator%29%2C%20and%20Samba%20Yonga%20%28co%20founder%20of%20the%20Women%27s%20History%20Museum%20of%20Zambia%29.

Beskrivning - tidigare

Enligt generalkatalogen: "Mask, som föregående men utan nät, dekorerad med streck och ringar vid ögönen, rut-mönstrade fyrkanter på kinderna. Mått: 37cm. Nalandile-mask användes av Makishi-dansare. Lozi-folket. Makishi."

Beskrivning - engelska, tidigare

According to the general catalogue: "Mask, like the previous one but without net, decorated with lines and rings at the eyes, checkered-patterned squares on the cheeks. Dimensions: 37cm. Nalandile mask was used by Makishi dancers. The Lozi people. Makishi."

Namn - insamlad av

Elmberg, John-Erik (1917-03-24 - 1970-12-11), etnolog

Beskrivning: John-Erik Elmberg, född 24/3 1917, död 11/12 1970, docent, fil. dr. 1968. Stockholm. Genomförde forskningsresor till Indien 1947, Sulawesi (tidigare Celebes) och Moluckerna 1948-1949, västra Nya Guinea, Australien, Nya Zeeland 1950. År 1953-54 gjorde han en ny resa till västra Nya Guinea, Ayamaru (eller Ajamaru), Fågelhuvudhalvön och ytterligare en till samma ställe 1957-58. År 1969 reste han till Afrika och Zambia och gjorde insamlingar.
Anställd vid Etnografiska museet och institutionen för Allmän och Jämförande Etnografi vid Stockholms Universitet. Donator av samlingar till Etnografiska museet: 1951.36 (Sulawesi, Irian Jaya), 1954.31 (Irian Jaya), 1966.21 (Sulawesi) och 1969.21 (Zambia).
Gift med Annika Elmberg.
Källor, Kulturnav - samma: kulturnav.org
Källor - http: digitaltmuseum.org, libris.kb.se, libris.kb.se, collections.smvk.se

Tidpunkt - förvärv till museet

1969

Händelse - var närvarande vid

Fältarbete av John-Erik Elmberg, Zambia (1969)

Beskrivning: Fältarbete av John-Erik Elmberg i Zambia 1969 finansierat med stipendium från SIDA. Ett uttalat syfte var att studera socail förändring hos bemba (field study of social change among the Bemba of Zambia). Zambia hade varit självständigt i fem år. Han skulle också studera jordbruksutveckling. Samlingar och fotografier från lozi och luvale bland annat finns på Etnografiska museet, Stockholm. (Östberg 2002:198).
Källor, Kulturnav - samma: kulturnav.org

Samlingsbesök. 2020-09-18. Women's History Museum Zambia

Beskrivning: Samlingsbesök med Mulenga Kapwepwe och Samba Yonga från Women's History Museum of Zambia för att studera föremål från Zambia. Besöket sker inom ramen för den första workshopen (16-20 september 2019 i Stockholm) i samarbetsprojektet "Empowering women's histories: sharing digital heritage between Zambia and Sweden". Projektet löpte under hösten 2019 och finansierades av Svenska institutet genom ett såddfinansieringsanslag i programmet Creative Force. Syftet med samlingsbesöket var att ge våra partners från Zambia inblick i vilken typ av samlingar från Zambia som Världskulturmuseerna förvaltar, hur dessa är katalogiserade, dokumenterade och tillgängliggjorda, vilken kunskap om regionen som museet genom föremål, foto och arkiv presenterar, samt inleda en dialog om hur samlingarna och arkiven kan bli mer tillgängliga och relevanta i Zambia, inte minst genom digitala verktyg. Urvalet av föremål gjordes av intendent Michael Barrett, med stöd av föremålsantikvarie Anna Fahlén. Tanken var att valda föremål skulle representera olika zambiska regioner, material, tidsepoker och föremålstyper med ett särskilt fokus på kvinnors historia.

Seminarium - On forbidden knowledge (2023)

Beskrivning: On Forbidden Knowledge - part one, was an online seminar organized by the Disrupting & Reorienting Restitution network, which consists of a diverse group of alumni from the 2022 Museums Lab program. The first in a series sponsored by Goethe-Institut, Kenya, the conversation was "between our DRR virtual artist in residence, a member of an African Indigenous source community and an Indigenous researcher. The conversation will be centered around a Makishi mask from Zambia that is currently being held in the Världskulturmuseerna, Stockholm, Sweden."
Speakers:
Mwata Chibweka Bitonde, Mukanda official and elder of the Luvale community of Zambia
Victoria Phiri Chitungu, curator, cultural historian and provenance researcher (Zambia)
Samba Yonga, co-founder of Women's History Museum of Zambia
Mihayo Kallaye, multimedia installation artist & DRR Virtual Artist in Residence (Tanzania)
The conversation took as point of departure two Zambian masks in the collection of the Museum of Ethnography in Stockholm, with inventory numbers 1969.29.0037 and 1969.29.0038, and the poor and confusing state of their contextual documentation in the museum's digital database Carlotta. Samba Yonga and Mwata Chibweka Bitonde expressed dismay about the catalogue descriptions in the database, which among other inaccuracies, attributed the mask to the Lozi people. The Lozi do not practice Mukanda and Makishi, unlike the VakaChiyama Cha Mukwamayi (a collective term for among others the Luvale, Mbunda, Luchazi and Chokwe communities), which are the cultural and social contexts of these particular masks. Bitonde and Chitungu continued to explain the multiple meanings and uses of the masks and how they can only be fully appreciated in their entire material and intangible contexts, including the full costumes, attributes, music, dances, gestures, ritual, and drama.
Bitonde, Chitungu, and Samba went on to contextualise Mukanda - a complex and rich coming of age ritual, and educational and spiritual institution which has deep social and cultural significance in today's Zambia and eleswhere. They also explained how, at the same time, the institution is under threat for historical, religious, and political reasons. British colonial rulers and missionaries mistrusted and demonized the Mukanda ritual and the associated Makishi masquerades and these ideas have been transferred into present times. Practitioners of Mukanda today risk police persecution, being ostracized from schools and religious congregations.
Källor - http: www.reorientingrestitution.com

Referens - källa

Chitungu, V.P. (2008). Masks and Dances, Mwanapwebo and Maliya: A Representation of Woman at the Center of Social Change in Zambia. Signs: Journal of Women in Culture and Society, 33(2), 449-456.

Källor - http: www.journals.uchicago.edu

Chitungu, V. P. (2013). Makishi Masquerade and Activities: The Reformulation of Visual and Performance Genres of the Mukanda School of Zambia. I V. Y. Mudimbe (red.) Contemporary African Cultural Productions. Dakar: CODESRIA, 67-81.

Källor - http: libris.kb.se

Källor - http

ich.unesco.org

; www.youtube.com

Sökord

makishi; WHMZ; Mukanda

Belongs to Samling

1969.29 :: Elmberg, John-Erik

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1969.29.0038 :: mask (ansiktsmask)

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