File:Kundu Drum, Papua New Guinea, Brücke Museum Berlin, 65043, view b.jpg
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Captions
Captions
Kundu Drum Papua New Guinea, 19th–20th century, three-quarter view from the left
Summary
Object
| Artist |
English: once known creator
Deutsch: einst bekannte*r Urheber*in |
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| Description |
Deutsch: Kundu-Trommel
English: Kundu Drum |
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| Date | from 19th century until 20th century | |||||||||||||||||||||||
| Medium | wood | |||||||||||||||||||||||
| Dimensions | height: 59 cm (23.2 in); width: 18.5 cm (7.2 in); depth: 18.5 cm (7.2 in) | |||||||||||||||||||||||
| Collection |
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| Accession number |
H 80 |
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| Place of creation | Papua New Guinea (Q691) | |||||||||||||||||||||||
| Object history |
transferred to Karl und Emy Schmidt-Rottluff Stiftung (Q108731834) from Karl Schmidt-Rottluff (Q161143) |
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| Notes |
English: The word “Kundu” is the Pidgin English word for rosewood, the material from which this drum is made. It is the most commonly used musical instrument in Papua New Guinea. The kundu is usually carved from one piece of wood in the shape of an hour-glass and can be ornately incised with crocodiles, pigs, or faces of totemic ancestors. The skin of tree Kangaroo, snakes or lizards is stuck in place with a strong natural resin to form the tympanum which is set at the correct pitch by moving pellets or gum or bee’s wax on its surface.
Since the drummers often smear themselves with pig grease or coconut oil the drums attain a high polish with use. (Grace Vele)
Deutsch: Das Wort "Kundu" ist das englische Pidgin-Wort für Palisanderholz, das Material, aus dem diese Trommel hergestellt wird. Sie ist das am häufigsten verwendete Musikinstrument in Papua-Neuguinea. Die Kundu wird in der Regel aus einem Stück Holz in Form einer Sanduhr geschnitzt und kann mit Krokodilen, Schweinen oder Gesichtern von totemistischen Ahnen verziert sein. Die Haut von Baumkängurus, Schlangen oder Eidechsen wird mit einem starken Naturharz verklebt, um das Trommelfell zu bilden, das durch die Bewegung von Kügelchen, Gummi oder Bienenwachs auf seiner Oberfläche auf die richtige Tonhöhe eingestellt wird. Da sich die Trommler oft mit Schweinefett oder Kokosnussöl einschmieren, erhalten die Trommeln mit dem Gebrauch einen hohen Glanz. (Grace Vele)
Tok Pisin: Dispela kundu cavim i olsem pes blo pukpuk na pik blo ples i soim osem wanpela man i bin kavim dispela dram ya i kam lo pukpuk famili na pik family bikos em piksarim pik na pukpuk.
Hap lo paitim dram ya i passim wantam skin blo tri kangaro, sinak, na lizard, ol i glurim wantam susu blo diwai na susu blo sampela ol spesol diwai na wax blo bii. Bihain lo dispela, ol save passim strong wantam ol kein rop bikos em bai go strong mo. Bihain lo dispela gen ol i rabim kokonats oil na pik gris na mekim dispela ol kundu go sain mo yet.
Tok Pisin: Dispela Kundu Drum em mo popula lo olgeta hap lo Papua New Guinea, bat dispela Kundu drum ol bin mekim lo East Sepik Provice na ol man i bin mekim lo stongpela diwai ol save kolim rosewood, dispela rosewood diwai em i lait tumas na strongpela. Ol man lo ples i bin mekim dispela kundu drum lo longpela taim igo pinis i olsem 19-20 tausen krismas igo pinis. |
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| References |
Deutsch: Karl Schmidt-Rottluff hat die Trommel 1957 in seinem Gemälde "Geweihfarn in der Mitte" künstlerisch verarbeitet. Das Gemälde befindet sich heute in der Sammlung des Brücke-Museums in Berlin: https://www.bruecke-museum.de/de/sammlung/werke/62307/geweihfarn-in-der-mitte |
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Photograph
| Description |
English: Kundu Drum Papua New Guinea, 19th–20th century, three-quarter view from the left  |
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| Date | ||||
| Source | BrückeMuseumBerlin | |||
| Author | Nick Ash, Berlin | |||
| Permission (Reusing this file) |
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| Other versions |
The estate of Karl Schmidt-Rottluff, owned by the Karl and Emy Schmidt-Rottluff Foundation at the Brücke Museum, contains his collection of around 100 sculptures and objects with colonial backgrounds. The Brücke artist himself never travelled outside Europe and, to the best of current knowledge, bought these objects in the art trade and from private owners from the 1910s onwards. The collection includes ritual and everyday objects, alongside souvenirs for the Western market. The way they were perceived underwent changes: they came to be seen as objects of art and decoration. Little is known of their origins, the circumstances of their acquisition, or the historical and current importance of the objects. Most of them originate from Germany’s former colonies, thus referring directly to German Expressionists’ entanglements in the often unlawful appropriation of material culture in colonially occupied lands. More
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|---|---|---|---|---|---|
| current | 14:28, 2 November 2021 | | 8,270 × 6,196 (25.5 MB) | BrückeMuseumBerlin (talk | contribs) | Uploaded own work with UploadWizard |
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