reassembled. The term inapshe applies not only to cracked or perforated objects, but also to
those that are crushed or crumpled. In both cases, the aim is to ‘beautify’ the damaged object
and to restore both its functionality and its symbolic, ritual and aesthetic value.
One of the first documented restorations of a ‘thing of the palace’ involves the famous
Mandu Yenu beaded throne, which was a gift from King Njoya to Kaiser Wilhelm II in 1908 and
which is now one of the masterpieces in the Ethnological Museum of Berlin (see Figure 13.1).
When the first
Njoya, the enlightened monarch of the pre-colonial Bamoun kingdom. His idea to create a
museum in the 1920s, during the colonial period when cultural evolutionism triumphed, is
unequalled in Africa. It appeared not only as a transgression of the balance of power but also
as the true precursor of the object–subject point of view, which is the basis of the paradigm
The French colonial administration that took over from Germany in 1916 set about
securing its authority by destabilising, to the point of extinction, the previous political or-
This book is particularly relevant at this time of omnipresent talk about cooperation
with ethnographic collections’ countries of provenance.3 Today, there is an awareness of the
importance of academic and museographic partnerships and a requirement for ethnological
3 It is relevant to note in this context that this is one of the reasons why the Africa sections of per-
manent exhibitions in several ethnological museums in Europe are closed for a complete overhaul
Rethinking Museum Cooperation | 5
museums to concern themselves with contemporary
/New York 2018,
S. 117-128, in diesem Buch in der deutschen Fassung, siehe S. 17-31.
2 Silvy Chakkalakal: »›The World That Could Be‹. Gender, Education, Future and the Pro-
ject of an Anticipatory Anthropology«, in: Journal for European Ethnology and Cultural
Analysis 3(1), 2018, S. 7-30, S. 9.
Friedrich von Bose274
3 Vgl. zur Normativität von Zeitlichkeit auch Silvy Chakkalakal/Sina Holst: »Interventio-
nen des Zeitlichen. Zeit-Handeln im Anthropozän«, in: Kuckuck. Notizen zur Alltagskul-
tur 2020(1) (im Erscheinen).
4 Armen Avanessian/Suhail Malik (Hg.): Der
, 1972 on the production and marketing of
tourist objects at the Victoria Falls in Zambia, and has since then enjoyed operating
in the margins between art and anthropology. He has worked at the Norwegian
National Museum of Contemporary Art as well as the Ethnographic (Völkerkunde)
Museum of the University of Oslo, where he was director. Another of his main
interests is museums and the challenge of cultural diversity. He has devoted
many years to the work of ICOM, as chair of ICOM Norway, chair of ICME ( the
International Committee for Museums of Ethnography/ethnology
, DCL, FRS, FSA.
Brauneck, Manfred; Schneilin, Gérard (Hrsg.) (1992) Theaterlexikon.
Begriffe und Epochen, Bühnen und Ensembles. Reinbek bei Hamburg,
3. überarbeitete und erweiterte Neuauflage.
Bredekamp, Horst (1993) Antikensehnsucht und Maschinenglauben. Berlin.
Cameron, Duncan F. (1968) „A Viewpoint: The Museum as a
Communicational System and Implications for Museum Education.“ In:
Curator, vol. XI, No. 1, March 1968. 33-40.
Chapman, William Ryan (1981) Ethnology in the Museum: AFLF Pitt
Rivers (1827-1900) and the Institutional Foundations of