Colonial Shadows
Her field was not only drawing and painting, but also the exploration of the life of women, their work, housekeeping and cooking, etc. I owe her so much that a great deal of the material should really be published in her own name
Augustin Friedrich Krämer
Introduction
The exhibition is dedicated to the work and role of Elisabeth Krämer-Bannow (1874–1945) in the context of the so-called Hamburg South Sea Expedition of 1908–1910. After her husband, the naval doctor, ethnologist, and founder of the Ethnological Collection at the University of Tübingen, Augustin Krämer (1865–1941), took over the leadership of the expedition, Krämer-Bannow was appointed as a salaried member of the scientific team, responsible for painting, photography, and weaving.
As the only female member of the team, she traveled to Palau (a Pacific island nation), among other places. There she primarily took on the photographic and artistic documentation. Her biological gender opened access to spheres of life that were closed off to the male "researchers"—particularly the world of women. Her watercolors and reports provide insights into the everyday life and culture of Palauan women, addressing topics often neglected in ethnological research of that time.
The exhibition is the result of three interdisciplinary practical seminars by students from the fields of ethnology, art history, and the Master's program "Museum and Collections." Together, they analyzed Elisabeth Krämer-Bannow as a person, her significance for the "expedition," as well as her watercolors, photographs, and "collected" objects. A special focus was placed on her access to the world of women and her documentation of everyday life.
The works of Elisabeth Krämer-Bannow and the estate of the Krämer couple are not only valuable for an artistic as well as a documenting perspective, but also raise critical questions: What perspectives and power relations shaped ethnological "research" at the time? How did colonial structures influence the representation and collection of objects, images, and photographs? The online exhibition invites reflection on these questions and encourages a differentiated and decolonial view of the historical role of science and art in colonial contexts.
The contribution of Elisabeth and Augustin Krämer to the Ethnological Collection at the University of Tübingen remains significant to this day—an inheritance that encourages a critical and decolonial engagement with colonial scientific practices.
This student project, presented from a European perspective, is an attempt to showcase Elisabeth Krämer-Bannow and her work for the first time in an online exhibition. Due to time constraints, a collaboration with Palau has not been possible so far, but it would be highly desirable in the future. The online exhibition is designed to remain open to further contributions and encourages visitors to share comments and constructive criticism.
Where is Palau?
The Republic of Palau is an island nation in the Pacific Ocean, about 880 km east of the Philippines. The 356 islands cover a total area of 416 km², with only eight of them being inhabited. Palau has a population of approximately 17,600 (as of 2020), and the official languages are Palauan and English.
Palau was formally claimed by Spanish colonial rulers in 1885 and was part of the "Spanish East Indies" until 1898. After being defeated in the Spanish-American War, Spain lost access to its Asian colonies. As a result, Palau, along with many much of the surrounding Caroline Islands, was sold to the German Empire and annexed to German New Guinea.
At the beginning of World War I, the German Empire lost control over most of its colonies. Japan took over the administration of the Palau island group. Under Japanese occupation, Palau served as a military base during World War II and even endured a battle between Japan and the USA. After World War II, Palau was under US control for almost 40 years until it officially became independent on October 1, 1994.
What is Ethnology?
Formerly known as "Völkerkunde" (German for: People Studies) (Ethnography), ethnology is now officially referred to as "Social and Cultural Anthropology." It deals with questions of "foreignness" through reflection and field research, while exploring cultural and societal topics. Ethnology covers areas such as politics, religion, kinship, environment, or medicine. During Elisabeth Krämer-Bannow's time, the focus was often on smaller societies outside of Europe.
A central characteristic of ethnology is the method of participant observation and personal conversations. Ethnologists often live with the communities they "study” for extended periods of time. This results in ethnographic studies, such as those Krämer wrote about various Pacific Island populations. These studies document cultural practices, social hierarchies, symbolism, and interactions of the "studied" groups. Even back then, ethnologists worked closely with local informants and translators. With the institutionalization of ethnology at German universities during Krämer’s time, the discipline was closely tied to colonial policies. Many studies took place in European colonies, and ethnologists often collaborated with the local colonial regimes. Today, ethnology is increasingly focused on collaborative approaches, where researchers from the societies of origin are actively involved. Decolonial perspectives aim to replace the exoticizing or demeaning representations of earlier times and promote respectful, partnership-based research.
What is Colonialism?
Germany has only recently become the subject of discussions about its past as a colonial power. However, the German Empire controlled almost 2,000 km² of non-European territory starting in 1884. The majority of colonized territory was in Africa, but Germany also controlled territories in China and the Pacific. The smaller "South Sea colony" was particularly significant due to trade in copra, gold, and phosphorus. Like in other colonial regions, violence, exploitation, and interventions in the lives of the indigenous population occurred in the Pacific colonies. With the Treaty of Versailles at the end of World War I, Germany lost control over its colonies. The Pacific territories were primarily taken over by Britain, Australia, and Japan. Shortly after 1919, demands for the return of the colonies arose in Germany. These efforts were strongly supported during the National Socialist period until the 1950s and 1960s, when most of the world’s colonial territories gained independence.
What is Decolonization?
Decolonization refers to the process through which colonies gain political, economic, and cultural independence from colonial powers. It primarily took place in the 20th century, especially after World War II, when many African and Asian states fought for their independence. In addition to formal independence, decolonization also involves addressing colonial violence, the return of cultural goods, and a critical engagement with colonial mentalities. However, in many former colonies, economic dependencies and structural inequalities persist. As a result, decolonization is often understood today as an ongoing process that also affects education, culture, and social policy.
What is Postcolonialism & Decolonization?
The terms postcolonialism and decolonization are now ubiquitous, whether in the media or in public debates. They are discussed by both conservative and open-mindedliberal political movements, bringing forward controversy.
In the humanities, these terms refer to different debates about colonialism. Postcolonialism emerged in the 1980s within the framework of Postcolonial Studies, which originated in literary studies. This approach critically questions the perception of the West and the Global South as opposing societal forms, shaped by generalizing and often stereotypical descriptions. It examines the projections of the "Orient" created by universities in the Global North. At the same time, proponents of this school of thought emphasize the global interconnectedness of societies. Some of the most prominent voices in this area include Edward Said and Homi Bhabha.
Currently, the concept of decolonization is increasingly becoming the focal point of scientific discussions. Although the term was coined in the 1990s, it is receiving particular attention today. Central topics include the oppression of minorities and countries in the Global South through racism, the construction of "whiteness," and the role of science as an instrument of power.
Scholars analyze how mechanisms of exploitation and oppression, which have their roots in colonialism, continue to impact the present. Key voices in this discourse include Faye Harrison and Arturo Escobar.
Both approaches offer new perspectives on colonialism and encourage the development of concepts that critically examine one's own thinking thoughts and existing power structures.
In the early days, painting and drawing remained my main activities. These were especially well- suited for approaching the shy, reserved people.
Elisabeth Krämer-Bannow
Watercolor paintings
In 1909, Elisabeth Krämer-Bannow traveled to Palau as the only female member of the Hamburg South Sea Expedition to Palau. There, her task was the the photographic and artistic documentation. Her access to the women of the Palauan population, which was often denied to male researchers, allowed her to capture their daily lives and culture from a unique perspective. Her watercolors and drawings not only document details of daily life but also provide a vivid impression of the colors and moods that could not be represented by the black-and-white photography of the time. Especially striking are her depictions of the traditional Bai houses, which color schemes she precisely reproduced precisely.
Krämer-Bannow’s works were more than mere documentation – they reflect a profound artistic understanding and offer a rare perspective on the role and life of women. At the same time, they raise questions about the colonial gaze and the often imbalanced power dynamics under which such "research" took place. Thus, her watercolors give an opportunity for critical reflection on the history of ethnographic documentation.
Two Women
Diraingeáol from Goréǒr and Kélebil from Melekéiok
View from Blai No. VIIa Ingeáol in Goréǒr to the south towards the Gogeálfelsen Songél a Lise Watercolor by Elisabeth Krämer-Bannow, 1910
Originally, both women depicted in the watercolor came from Melekéiok (now Melekeok). However, the older of the two moved to Goréǒr (now Koror) after her marriage and adopted a new name, abandoning her previous one, Galagasél. From then on, as the wife and householder of the Bai Ingeáol, she bore the title Diraingeáol. She had a close, maternal relationship with Elisabeth Krämer-Bannow. In the background of the image, there is an archipelago that Augustin Krämer named after his wife, “Songél a Lise” (“The Favorite of Lise”).
Source:
Palau. Vol. 2. Settlements, Districts, Villages, Constitution, Demography, Anthropology, Language,
https://www.etpisonmuseum.org/projects/kramer-translation-project, Accessed on 15.01.2025.
Watercolor of a Palauan Woman
This watercolor by Elisabeth Krämer-Bannow depicts a Palauan woman with a confident gaze. Her black hair is tied back and she wears long green earrings made from plant materials. Her upper body is bare, though without visible breast features. The detailed shadow on the wall raises questions about an original background. The work illustrates the artist's closeness to the local population, especially the women of Palau. It remains unclear whether the portrayal represents a colonial typification or if Krämer-Bannow created an individuals likeness, which would allow for conclusions about her perception and artistic intent.
Source: Palau. Vol. 1. The History of the Discovery; Geography, p. 55 https://www.etpisonmuseum.org/projects/kramer-translation-project, (Unpublished Elisabeth Krämer watercolor of a Palauan woman. Scan, Hamburg Museum collection) Accessed: 13.01.2025.
Two Men
In this watercolor, two Palauan men stand at the center of the workcentrally in the foreground. Behind them spans lush, green vegetation. Possibly this was created as an ethnological study, as the composition is constructed carefully, contrasting male inhabitants from the south and north of the archipelago. They can be compared based on their skin color, appearance, clothing, and body adornments. However, exchanges between different population groups were also common, so the situation may not necessarily have been staged.
Source: Palau. Vol. 2. The Settlements, Districts, Villages, Constitution by A. Krämer, p. 317, https://www.etpisonmuseum.org/projects, Accessed: 14.11.2023.
Houses
The displayed watercolor is depicting a landscape with two houses from the village of Ngebuked. These houses were named after the Chief of Ngebuked: Ngara Ruau. They are lavishly adorned with carvings. On the left side of the image, remnants of a shrine can be seen. The watercolor was likely of great significance, as the carved stories on the houses gables were painted with many details and in color.
Source: From: Krämer, A. 1929, Palau, Volume 2. Part III. Settlements, Districts, Villages, Constitution. Part V. Demography, Anthropology, Language, p. 49.
Palauan Woman with Fish Bowl
This watercolor shows a Palauan woman in front of green vegetation. The plant on the left side of the image is a taro plant.
The roots of the taro were cooked and then eaten – a popular dish and staple food in Palau. The woman balances a fish bowl on her head. She wears a skirt made of various natural fibers. These skirts consisted of a front piece – the madal – and a back piece – the del – and were held together by a hip belt – the chalius.
Source: Palau. Vol. 3. Material Culture, Intellectual Culture by A. Krämer, frontispiece, https://www.etpisonmuseum.org/projects, Accessed: 14.11.2023.
Sitting Woman with Bowl
The watercolor depicts a young woman sitting. The outer side of both of her arms and hands are tattooed. According to Krämer, the tattoos indicate the age and wealth of a woman. Only particularly wealthy people could afford tattoos. With the first signs of breast development, young girls would receive their first tattoos on the outside of their arms and hands. This would be followed by the inside of the arms, the feet and legs, and the private areas. The woman depicted could therefore be between 10 and around 14 years old.
Source: Palau. Vol. 3. Material Culture, Intellectual Culture by A. Krämer, back cover, https://www.etpisonmuseum.org/projects, Accessed: 14.11.2023.
Pigeon-hunting
The two watercolors sketch the hunting of pigeons. The upper watercolor shows a hunting post, while the lower one depicts a pigeon coop. It is unclear whether these were domesticated or wild birds. Pigeons were important decoys in hunting. They were tied to the hunting post and, through their presence and cooing, gave wild pigeons a sense of safety. This led the wild pigeons to settle on the post, where they could then be shot.
Source: Palau. Vol. 3. Material Culture, Intellectual Culture by A. Krämer, p. 67, https://www.etpisonmuseum.org/projects/kramer-translation-project, Accessed: 14.11.2023.
What means colonial language?
Language is a constantly evolving process. What was once considered neutral can now seem problematic – even in museums. Terms such as "expedition" or "research journey" are examples that, upon closer inspection, fall into this context. For centuries, so-called "expeditions" were conducted, often even with state support. These scientific ventures aimed to "explore" regions that were unknown from a European perspective. However, the knowledge gathered during these expeditions was frequently used by colonial powers, leading to unlawful land seizures, the oppression of local populations, and the plundering of cultural goods. Many of these objects are now in European museums, telling a story that must be critically examined. This reflection is an important step in making the power of language and its historical significance visible.
Took photographes again in the morning; beautiful, picturesque motifs present themselves, and I regret the shortness of time that does not allow me to take several pictures of the village views.
Elisabeth Krämer-Bannow
Photography
At the end of the 19th century and the beginning of the 20th century, new photographic techniques emerged. Faster photography became possible, and staged motifs could be replaced by more organic ones. Challenges such as long exposure times and sensitive chemicals were overcome. This opened up new possibilities for documenting colonial "expeditions”.
In ethnology, photography was used to document material cultures and traditional clothing before the perceived loss or profound changes brought about by colonialism. Ethnologists aimed to capture cultural concepts, leading to intense research and numerous publications. Ethnologists on "expeditions" developed two photographic approaches – ethnological and physiognomic photography. Physiognomic images were used to measure and compare people, employing standardized devices. These dehumanizing pictures were used for the scientific classification of individuals from their respective societies. In contrast, ethnographic images lacked strict scientific guidelines, with a stronger focus on romanticized depictions of natural states. In the researchers' home countries, such images sparked enthusiasm for the "exotic." Despite advances in photographic techniques, paintings continued to play a crucial role, especially in visualizing technical constructions and complex patterns.
Elisabeth Krämer-Bannow, who was originally responsible for drawings, also participated in photography during the "Hamburg South Sea Expedition." Her diary entries from September 1909 mention her assistance in choosing motifs, grouping people, and developing glass plate negatives. Her photographs idealized natural states and avoided depicting the destruction caused by colonialism and missionary activities.
Provenance: Palau, Micronesia, Oceania, Augustin Krämer and Elisabeth Krämer-Bannow
Photo: black-and-white, probably Augustin Krämer, 1909/10
The photograph shows Elisabeth Krämer-Bannow (left) and another person (right), who was not from Palau. Krämer-Bannow is depicted performing her documentation work as part of the ethnographic "research" of the "South Sea Expedition" in Oceania. The image stages and idealizes her work, presenting it in a way she wishes to show it at home.
Embedding the image in untouched nature follows the canon of ethnographic images of the time. At the same time, Krämer-Bannow is highlighted by her white clothing. The other person, in contrast, almost blends into the background through this staging and their clothing color.
Source: Linden Museum Stuttgart, State Museum of Ethnology, Photo Archive
Provenance: Palau, Micronesia, Oceania, Augustin Krämer and Elisabeth Krämer-Bannow
Photo: black-and-white, 1906/10
The photo shows Elisabeth Krämer-Bannow on a boat. Her role as a "researcher" is evidentlyn context of colonization. The image likely depicts an exploration trip during the second "Hamburg South Sea Expedition." The two individuals from the local society who appear to be steering the boat clearly visualiz European hegemony.
Source: Ethnological Collection, Asia-Orient Institute, University of Tübingen, AOI-Es- Dia1894_F1
Provenance: Palau, Micronesia, Oceania, Augustin Krämer and Elisabeth Krämer-Bannow
Photo: black-and-white negative, emulsion on glass plate, contact print on PE paper (delivery form)
The snapshot shows Elisabeth Krämer-Bannow on a boat in an idyllic setting. This photo, too, does not depict the cultural and social changes in Palau caused by colonialism, but rather romanticizes her research activities. The presence of an individual, likely from the local society, steering the boat emphasizes the researcher couples dependence on local people during their "expeditions" (e.g., also mentioned as "my boat boys" in AK 1917:191).
Source: Ethnological Collection, Asia-Orient Institute, University of Tübingen, AOI-Es-Neg384
Provenance: Goréor, Palau, Micronesia, Oceania, Augustin Krämer and Elisabeth Krämer-Bannow
Photo: black-and-white, 1906/10, Elisabeth Krämer-Bannow and Augustin Krämer
Elisabeth Krämer-Bannow and Augustin Krämer visited the limestone cliffs on April 25, 1907. Augustin Krämer named the area after his wife's nickname (Songél a Lise, "The Darling of Lise"). He justified the naming by stating that he was the first to explore and map the limestone cliffs with her (AK 1918:191).
This reveals an unjustified claim by the researcher couple over the areas they visited. A prior naming of the area by the local society was clearly ignored.
Source: Hamburgische Wissenschaftliche Stiftung: Ergebnisse der Südsee-Expedition 1908-1910. Edited by Prof. Dr. G. Thilenius, Vol. B 3.1, 1918
Provenance: Goréor, Palau, Micronesia, Oceania, Augustin Krämer and Elisabeth Krämer- Bannow
Photo: black-and-white, 1907/10, Augustin Krämer
The photograph shows a typical representation of the natural state in ethnographic images. Destruction of nature and cultural identity caused by colonial powers is neither depicted in the photographs nor described in texts. This kind of romanticization by "expedition researchers" is referred to as imperial nostalgia (Rosaldo 1989). Imperial nostalgia thus describes the contradictory attitude of colonial officers, missionaries, and anthropologists who lament the disappearance of everyday cultures, even though they themselves were complicit in their destruction. Nostalgia here refers to the paradox of the "white man's burden." The "white man" is supposed to "civilize" the local people while simultaneously "saving" their cultural practices. At the same time, colonial actors emphasize their own innocence in this endeavor. This phenomenon is also reflected in the research of the Krämer couple.
Source: Hamburgische Wissenschaftliche Stiftung: Ergebnisse der Südsee-Expedition 1908-1910. Edited by Prof. Dr. G. Thilenius, Vol. B 3.1, 1918
Initially, they are threatened by the mass execution of 'ethnographic objects,' which is carried out by more or less all the Whites who come there.
Elisabeth Krämer-Bannow
Material Culture
Colonial "Collecting" by the Krämers in Palau
The objects that the Krämer couple brought to Germany from Palau tell two stories – that of the originating society, but also the colonial history.
As representatives of the former colonial power Germany, the Krämers would likely be considered unethical collectors by today’s standards, as their position of colonial power and, in Augustin’s case, his role as a doctor helped him acquire the objects. During the Krämer couples time, there was a pronounced colonial collecting culture, which was also present in other European colonies. The strong motivation of Augustin Krämer to take objects back to Germany thus fits the scientific spirit of the time. The word "collecting" is put in quotation marks in the title because it was meant to elevate and legitimize the accumulation of objects as “scientific.”
However, the agency of the Palauan people is also evident through the ethnographic objects. They, for example, did not sell everything that Augustin Krämer wanted. The tolúk bowls in the Ethnological Collection at the University of Tübingen were much less valuable variants. The Palauan people were not willing to sell the more precious bowls. The objects found in the Universities collection were mostly everyday objects in their society.
For example, the fiber skirts were commonly used items in Palau. But precisely because many of the objects on display were actually used, they carry significant meaning. Some of the items in the Tübingen collection are no longer produced in Palau today, so they are of great importance as witnesses of the past.
The displayed objects were mostly either "collected" by Elisabeth Krämer-Bannow or held special significance for women in Palau. This online exhibition shows only a few of the more than 150 Palauan objects kept in Tübingen.
Torso of a Dilukai figurine
Palau, around 1900, hardwood and natural pigments (ochre, red, white, and black) Height: 47 cm; Width: 16.5 cm; Length: 50 cm
Ethnological Collection of the University of Tübingen, AOI-Es-A80
Dilukai (also dilukái, dilugai) are carved female figurines that were placed at the front of assembly houses (bai) until the early 20th century. For this particular figurine, its lower part showing the spread legs and the genital area is missing. It was banned by the European colonial powers because they perceived it as "immoral." The figurine is said to represent a mengol, a woman who lived in the bai for a time. The mengol had multiple roles in society.
Additional terms related to the context of the Dilukai figure: deruar, bechel
Tolúk shell
Palau, undated, tortoiseshell (real hawksbill turtle)
Ethnological Collection of the University of Tübingen, AOI-Es-A 104
This traditionally handmade "women's money" is used to pay women who assist in events such as childbirth or funerals, during exchange ceremonies. Since the turtles are a protected species, very few new shells are made today. Instead, the existing ones are passed on together with US dollars as valuable heirlooms. The value of the shells can be determined by their thickness, size, and craftsmanship, and represents the history and wealth of the respective family.
Gongál/Wooden bowl
Chongall
Palau, undated, wood
Height: 7 cm; Length: 34.4 cm; Thickness: 32.5 cm
Chongall – Craftsmanship of the Palauans
Ethnological Collection of the University of Tübingen, AOI-ES-A84
The chongall, an important tool of domestic life, is a testament to Palauan craftsmanship. This wooden bowl was used for serving fish. It was made by shaping wood, soaking it in water, hollowing it out, and smoothing it with ray skin. The edges were decorated with inlays in the form of open seashells or fish made from crushed shells, attached with a paste of red earth, lime, and Parinarium oil. After being painted with red volcanic rock pigment, it was coated with Parinarium lacquer, polished with leaves, and could be hung up on a rope.
Birdcage
Palau, undated, wood and betelnut palm bark
Height: 30 cm; Width: 19 cm; Depth: 12 cm
Ethnological Collection of the University of Tübingen, AOI-ES-A111
This birdcage was made from wood and the bark of the betelnut palm, locally known as mengchongch. It was sewn together to form a tubular structure. The open end was reinforced with a wooden lattice that formed the bottom of the cage. A rectangular flap at one end was used to insert or remove the birds. The design suggests that it was hung upside down, with the opening facing down. Frayed fibers and missing wooden slats indicate long use or poor preservation.
Bead Money
A Udóud
Palau, undated, glass beads
Height: Diameter approx. 1 cm; Thickness: 1 cm
Ethnological Collection of the University of Tübingen, AOI-ES-A428
The name cheldoech, meaning 'shining', refers to the glass material of these beads. They were first introduced on the Asian market, with their value varying depending on their shape and color.
In contrast to the more valuable red or yellow fired clay beads and as the least valuable form of udóud, Palauan currency, they were more commonly distributed to individuals rather than stored in clan treasuries. Cheldoech udóud was worn by children and used as jewelry in burial rites. By 1920, its value diminished due to counterfeiting, allowing traders to bring it to Europe.
Bast Skirt
Palau, undated, plant fibers
Ethnological Collection of the University of Tübingen, AOI-ES-A124
On the tropical island group, women's clothing primarily consisted of bast skirts. These were woven from various plant fibers and were decorated depending on their purpose or kept simple and used as work clothing. Plant fibers (including the leaves of pandanus, banana palm, and the bark of the hibiscus tree, among others) were scraped smooth using seawater and mother-of-pearl shells and pounded into a malleable form. After several weeks of drying in the sun, they could then be braided together to form the skirt. The bast skirt was composed of a front and back, which were tied around the waist with a belt.
By dyeing the fibres with pigments, including turmeric, and adding various decorations, clan affiliation and social rank could be conveyed. An intricately decorated skirt granted prestige to its wearer. The bast skirts in the Ethnological Collection in Tübingen show no remaining traces of dye.
What is Provenance Research?
Provenance research basically addresses the context in which an object was created and subsequently transferred over time. The term originates from the Latin "provenire," meaning "to come forth" or "to originate." Its primary aim is to trace the biography of an object, beginning with its creation and culminating in its inclusion in a collection. This involves reconstructing the history of the object’s perception, including its significance for collectors, scholars, or other stakeholders. Such investigations shed light on the perspectives of those involved with the object and reveal the value attributed to it in various contexts.
Beyond merely reconstructing an object’s biography, provenance research pursues a second, far more critical objective: the identification of unlawfully appropriated objects. This includes, among other cases, looted or plundered art as well as ancestral human remains taken without the explicit consent of their source communities. It also encompasses objects relinquished under coercion or without adequate compensation by their original owners. Furthermore, research data such as audio recordings, photographs, or film footage can also fall within the scope of these inquiries.
In recent years, the scope of provenance research has expanded to address injustices beyond the National Socialist era and colonial contexts. These investigations increasingly consider historical wrongs dating back to the beginnings of European expansion in the late 15th century.
What is Restitution?
Restitution refers to the return of unlawfully seized or expropriated cultural belongings, properties, or rights to their original owners or their heirs. In recent decades, the term has gained particular prominence in the context of colonial appropriations and the Holocaust, but it also represents legal and moral principles that transcend specific historical circumstances.
From a legal perspective, restitution describes the attempt to restore an original legal state. This practice is founded on the premise that the return of property can achieve a measure of justice and reparation. However, the meaning of the term extends far beyond legal considerations: it also encompasses moral, cultural, and political dimensions. Restitution raises questions about memory, responsibility, and the power of historical narratives. It challenges societies to confront their histories and acknowledge the consequences of past injustices.
A critical debate surrounds whether restitution alone is sufficient to address profound wrongs or whether it must be part of a broader process of reparation. Opponents argue that returns may sometimes carry merely symbolic significance, while proponents emphasize that they constitute an essential step toward healing historical wounds. Restitution, therefore, remains a multifaceted concept, intertwining legal and ethical discourses.
These picture stories are a peculiarity of Palau, and nowhere else on Earth are wooden houses so systematically decorated with an innumerable amount of narrative depictions as here.
Augustin Friedrich Krämer
Bai Stories
At the beginning of the 20th century, intricately decorated men's houses (bai) were found in nearly every village on the inhabited islands of Palau. A total of 153 bais were documented by Elisabeth and Augustin Krämer. Today, only five remain, one of which is a reconstruction. The Bai picture stories, also referred to as loguki, were carvings and paintings on said bai. These houses were either inhabited by a group of unmarried men or used as a gathering space for the highest ranking men to make decisions. These two functions were distinct from each other, so no young men lived in the chiefs' bai. Alongside the bachelors, women temporarily resided in the clubhouses.
The bai were not only decorated on the outside but also on the beams inside. The original decorations were photographed and sketched by Elisabeth Krämer-Bannow. She used clay paper to make imprints of the carvings. These molds were then cast in plaster, coated with lime, and painted by Krämer- Bannow using red ochre and soot. Those are the same pigments used in Palau at the time, so the casts resemble the originals closely.
Today, only a few bais remain in Palau—they are no longer utilized the same way as before, with the exception of functioning as the chief’s meeting place. Most of the houses the Krämers made the casts of no longer stand. Krämer-Bannow produced not only the plaster casts but also numerous drawings and photographs of the bai stories, preserving this art for posterity. Her ethnological engagement and artistic skills are clearly evident in the plaster casts. In 1933, the Krämers' private collection was donated to the University of Tübingen.
Plaster Cast of Bai Story "Conflict"
Palau, Island of Babeldaob (State: Ngaraard | Former Name: Ngaraus), Plaster cast by Elisabeth Krämer-Bannow, 1906/1909
Ethnological Collection of the University of Tübingen, AOI-Es-A1520o
This colored plaster cast was made from casting a beam in a men's clubhouse where either unmarried men of the village lived or the chiefs gathered. It tells the story (loguki) of two quarreling women, one of whom sends rats to destroy her opponent's taro plantation. The other counters by sending cats. A boat, a tree, and a house are also depicted. Rats have negative connotations in traditional Palauan culture and are associated with filth, while cats are sometimes seen as bringers of good fortune.
Plaster Cast "Sailors"
Palau, Island of Koror (State: Koror | Former Name: Dngeronger), Plaster cast by Elisabeth Krämer-Bannow, 1906/1909
Ethnological Collection of the University of Tübingen, AOI-Es-A1520i
This bai picture story (loguki) shows two sailors, supposedly Spanish, with rifles. Notably, one of the men is holding a pipe in his mouth. The arrival of foreign colonial powers (Spain, Germany, Japan, USA) changed life in Palau. Under German colonial rule, rules were introduced that regulated the traditions of the men's clubs. Trading companies like the German Jaluit Company, as well as others from Japan, engaged in active trade with many villages. The rifle became deeply rooted in Palau due to these traders and was used, for example, for hunting or the violent resolution of conflicts. It was long considered a weapon of men.
Plaster Cast "Funeral"
Palau, Island of Babeldaob (State: Mengelang | Former Name: Ngeungel), Plaster cast by Elisabeth Krämer-Bannow, 1906/1909
Ethnological Collection of the University of Tübingen, AOI-Es-A1520h
Picture stories, like the one depicted here, were carved and painted on the gable fronts of houses on the Palau islands, but they were also visible on the crossbeams inside the houses. This one depicts how a highly respected man, buried in a coffin, is pulled down into the depths by a giant shrimp with claws in ochre yellow and black.
This is a cast that was made on-site by Elisabeth Krämer-Bannow using plaster. Even today, only the highest chief is allowed to be buried in this manner. Other clans also have special burial rituals for high-ranking individuals, such as burial in specific caves.
Plaster Cast "The Carpenter's Story"
Palau, undated, plaster cast by Elisabeth Krämer-Bannow
Ethnological Collection of the University of Tübingen, AOI-Es-A1520t
This episode tells the story of a poor man who gained wealth and fame through his skills in building small spirit houses. The figure in the center sits with his tools on a stack of boards next to a felled tree. On the right hand side are two finished spirit houses with characteristic outward-facing gable roofs, located near a red rock. On the far left, a figure walks past a palm tree. This visual narrative reflects the cultural significance of the spirit houses in Palau and highlights the craftsmanship of its society.
Glossary
What is mengol?
Young women participated in bai life and often had sexual relationships with club members. At the end of their stay, they were given money and gained respect. Additionally, the mengol strengthened social and political ties between villages.
What are deruar?
These bracelets were worn exclusively by high-ranking women. They were crafted from tortoiseshell using a complicated process.
What is bechel?
Valuable Palauan currency worn as a necklace. It plays an important role in maintaining and building social relationships.
IMPRINT
Project Management
Dr. Markus Schleiter, Curator of the Ethnological Collection at the University of Tübingen
Dr. des. Annika Vosseler, Provenance and Collection Research at the Museum of the University of Tübingen MUT
Dr. Michael La Corte, Curation and Communication at the Museum of the University of Tübingen MUT
Student Team
Luisa Beck, Timon Butz, Marina Freidhof, Svenja Hankiewicz, Diellëza Hyseni, Carolin Mai, Anastasia Rotenberg, Solveig Schreiber, Leyla Waberski, Simon Zauner
Former Participants
Johanna Annau, Jasmin Faß, Sandra Höhn, Dr. Fabienne Huguenin, Eva Kallenberger, Melissa Kaluza, Maria Lindner, Teresa Pohl, Stefan Welter
The student project was created as a collaborative eort between the Department of Ethnology at the Asia-Orient Institute of the University of Tübingen and the Master’s program line "Museum & Collections" (MuSa) at the Museum of the University of Tübingen MUT. The project was kindly supported by Oliver Häußler and Oliver Lichtwald from the Center for Media Competence at the University of Tübingen. This student project would not have been possible without the marvellous object photographies of Valentin Marquardt.
A very special thanks goes to Dr. Constanze Dupont, for her expertise and critical view on the whole project. We also want to thank Professor Dr. Gabriele Alex and Professor Dr. Karin Polit of the department of social and cultural anthropology, as well as Professor Dr. Ernst Seidl, Director of the MUT, for their financial support.
For feedback:
Contact: sammlung@ethno.uni-tuebingen.de
Sources
Quote 1: Krämer, Augustin (2017). Results of the South Sea Expedition 1908–1910 Palau, Volume I. Translation: Dr. Markus E. Locker, Krämer Ethnography Translation Committee. Belau National Museum/Etipson Museum.
Quote 2: Krämer-Bannow, Elisabeth: Bei kunstsinnigen Kannibalen der Südsee. Wanderungen auf Neu-Mecklenburg 1908-1909, Berlin 1916, S. 34f.
Quote 3: Pytlik, Anna: Träume im Tropenlicht. Forscherinnen auf Reisen. Elisabeth Krämer-Bannow in Ozeanien 1906-1910, Marie Pauline Thorbecke in Kamerun 1911-1913, Reutlingen 1997, S. 65, Original-Tagebucheintrag: Unveröffentlichtes Tagebuch der Hamburger Südsee-Expedition 3.8.1909-13.4.1910, Hamburgisches Museum für Völkerkunde: 22.1.1910.
Quote 4: Krämer-Bannow, Elisabeth: Heimatschutz in die deutschen Kolonien. 117. Flugschrift zur Ausdruckskultur, 1913, S. 1f.
Quote 5: Krämer, Augustin (2017). Results of the South Sea Expedition 1908–1910 Palau, Volume V. Translation: Dr. Dirk HR Spennemann. Belau National Museum/Etipson Museum.
Attachement: Origins of various Objects and Photographies