A multi-perspective documentary about the object biographies of the original and the copy of the so-called RAVENSBURGER SCHUTZMANTELFRAU. The original sculpture nowadays part of the permanent presentation at the Bode-Museum in Berlin and part of its collection since 1850 was reclaimed twice by representatives of the Liebfrauenkirche in Ravensburg shortly before and after WWII. But the last request from 2012 was submitted by an individual person from a big city in Germany. The documentary asks churchgoers of the Liebfrauenkirche in Ravensburg who have a strong connection to the sculpture if they are still interested in the Schutzmantelfrau as well as the head of the Bode-Museum if it is actually an indisputable fact that the sculpture originated in Ravensburg.
Copyrights: Antje Akkermann.
How I failed, became the subject of my subject, made a self-reflexive film – or nearly all about religion, monsters and syncretism in Ghana?
I started 2011 with filming about the West African concepts of monsters. But monsters don’t seem to exist in Ghana and I was surprised that I went into the trap of universal ideas. But then I met David. And when he brought me to the shrine of Mamishie Rasta, he involved himself into a ritual. The conflict he faced after this was due to his Christian belief. This was the turning point of WE ARE THE OTHERS and I asked myself many questions as: What is African (Traditional) Religion at all? What happens when people combine different religions? And does monstrosity re-enters at some point?
Copyrights: Antje Akkermann.
Concept, production and montage of the documentary DAGAABA XYLOPHONE - DAGA-GYIL MAKING IN GHANA.
DVD publication by the ETHNOLOGISCHES MUSEUM - STAATLICHE MUSEEN ZU BERLIN:
www.smb-webshop.de/en/books-und-media/dvds-cds/3701/dagaaba-xylophone-daga-gyil-making-in-ghana-dvd
Publisher: Prof. Dr. Lars-Christian Koch.
Copyrights: DVD Cover by Renate Sander, Ethnologisches Museum – Staatliche Museen zu Berlin.
MAN WEISS NICHT was my first documentary exercise while studying culture studies.
Copyrights: Antje Akkermann.