"Sunday, November 27, 1904 [underlined] This morning some jewelry items from Maasai came into my possession: 7. Two-part bracelet made of horn, the ends decorated with copper & brass wire, attached a piece of genet cat fur (= 1 Rupiah) [Drawing] Abd: Stuhlmann. With Emin Pasha into the Heart of Africa, Berlin 1894 Vol. I p. 51 / Illustration see: Fischer, G. A. The Maasai Land. Sep. excerpt from the communications of the Geographical Society in Hamburg 1882-83. Hamburg 1885. Plate 6 Fig 1. / 8. Decorated leather belt, worn across the chest. Beads blue & white, the leather rubbed with red clay (= 1 Rupiah) [Drawing] [...]" [translation]

source: Museum der Kulturen Basel, VI 56197, 43 (103)
author: Karl Braun

"8. Loin belt of the Masai / e mairenai [?] / Worn across the chest, with blue and white beads, made of leather rubbed with red clay / Amani 27 Nov. 1904 = 1 Rp / Merker, M. Die Masai, 1910, p. 143-144 / TB [diary] 43,103 / [drawing]" [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

I: I have another photo with registration number namba 2018_18202_1, grand […] please tell us what is it? R2: This has been made from beads, this is Engosokwani which was being worn here I: Where was it being worn? R2: It was being out by the youth on the neck I: Engesokwa? R2: Eeeeh! Because this is of the ancient times, the current design has been sewed with some beads in all of it, it is not on a single part of it, it rounds up to the end of it, but this is of the ancient times eeeh! Engosokwani I: Was it being worn on the neck? R2: Eeeeh! I: It was for the youth of which gender? R2: The Morani youth puts on their neck during their celebrations when they go for ngoma dances I: During the ngoma it was when they put on that? R2: Eeeeh! I: To attract? R2: Eeeeh! I: Do you still use Engoswaki in the Maasai communities? R2: The ones that are used are the ones that are made from Ambira, as you can see this hard leather? It was rhinocerous leather, do you know rhynocerous, which has a horn eeeh! In the past people used to find rhinoceros leather and sew it on, but if rhinoceroses’ leather was not found then cow leather was used instead, but this is rhinoceroses’ leather, that is why it is called Engoswaki in the Maasai community. I: So, Engoswaki it is rhino name? R2: Eeeeh! R1: Then after making this is when you call it Engasokwanu, which means rhino in Maasai I: What else was it being worn together with it? R2: He puts the other one which he has then it stands with it in here I: What? R2: It is being called Emajira, it is a neck dress I: So, its main importance was to beautify someone? R2: Eeeeh! To make someone look good, it is an ornament I: You do not make these currently? R2: We are no longer making it by if someone wants it, we can make it by using ‘Ambira’ but if he wants a leathered one, I can also make it because I know how to make it I: But if someone hasn’t denied it, you can not make it? R2: No I: Its uses have dropped in the currently days R2: This belongs to the ancient people, it was only the ancient people who loved it, the currently children who have gone to school continues with their modernity now days I: Are they also being made by the females? R2: It is the females only, no object which is being made by the males, all of these are made by the females I: So, all the beaded objects are females work? R2: It is only the females R1: They put on it, but it is the females who makes them I: So, how do you differentiate things which are being worn by the males and the females? R2: The past Times elder do have it, they don’t put on it but it differs I: You said it is a rhynocerous leather and Emustani? R2: Eeeeh! This is Emustani, do you see? R1: This was being worn on the neck

source: Amani-Stade Project / Massai Field Research 2023 / Interview No.
author: I: Mohamed Seif, R2: Anonymous

I: Thank you, I have another photo with registration number 2018_18362_1, is it different from the previous one? R3: They are not very different, they only differ a little because there is a big one and a small one, the small one was for the young people and the big one was for the adults, but they are all the same Ndalama. I: That is a bit long as you can see it, it is a bit long. R3: It is really different, as you can see this Ndalama, this was used to put on the arm. I: Was it being put on the arm? R3: Eeeeh! Not in here, it is on the upper hand, it is called Arkataa. I: So, this is Arkataa? R3: Eeeeh! I: But it is still the same Ndalama? R3: Eeeeh! I: This is for the upper hand? R3: This is for the arm, but it differs from Arkataa and Ndalama. I: So, Arkataa means the upper hand? R3: Eeeeh! Because the one that is worn here has its name and the one that is worn here has its name to eeeh! So, they have different names. I: The upper hand of Arkataa was worn by which gender, was it the female's or the male's number one? R1: It was being worn by both the males and the females. I: What used to distinguish the male and female Arkataa in the Maasai community? R1: They were different because the females used to have a connector that connected here eeeh! But the male’s Arkataa didn’t connect like that, that was the difference between the males and the females. I: The males didn’t have it? R1: No. I: What was the gender of the people who made these in the Maasai community? R1: It was the females, this is a female work. I: So, all the beaded works are for the females? R1: Eeeeh!

source: Amani-Stade Project / Massai Field Research 2023 / Interview No. 07
author: I: Mohamed Seif, R1-3: Anonymous

"Sunday, December 24, 1905. [underlined, p. 60] [p. 61] [...] In the evening came the [...] [?] which have ethnographic value. Almost all were procured for me by Max. Snuff box made of horn & wood, bought here from a Swahili (1 Rupia). Similar illustration in Baumann. Usambara. 1891. p. 231. / Kiswahili: tabakero is made by Wanjamwezi [drawing with material details] Wood Horn Wood / Combs, 3 pieces similar to those I illustrated in diary TB. 44, p. 68. One comb like the attached illustration & one was recently carved for me by a Njamwezi named [?], it had the following shape [drawing] / Kiswahili: schamo / and was unfinished made from [p. 62] white soft wood, while the others come from one and the same Fundi (craftsman), who specializes in them. These are yellow and smooth. [drawing] / Small and larger carved round spoons with burnt-in designs, shallowly hollowed, the figures vary. [drawings of seven spoons a-g, partly detailed drawings with labels] Kiswahili: kijiko / mwiko / wu bu [?] / a deep spoon: [drawing h] [drawing of a flute with material details] Wooden flute Tin Gourd Pumpkin Wood Kiswahili: nzumari [corrected to zumari] [p. 63] Device for hollowing coconuts. The halved nut is rasped out with a saw-toothed iron [correction], while the man who operates it sits on the apparatus itself. The wooden parts are carved from one piece & foldable. [Two drawings, one showing a detail] Kiswahili: mbuzi (actually = goat) / A bush knife called "munde" in Kiswahili. Most come from Germany, but these have a much slimmer shape. [drawing] Max received two Chinese pictures embroidered on darkest silk to hang on the wall [p. 64]. I had actually [?] bought them, like the other fabric goods, from an Indian in Tanga. Then a transparent thin fiber fabric, perhaps pineapple fiber, with very colorful butterflies embroidered from thick silk threads. A table runner made of silk, Indian work. –" [translation]

source: Museum der Kulturen Basel, VI 56197, 46 (61)
author: Karl Braun

"40. Wooden comb, two-sided / Amani 24 Dec. 1905 / TB [diary] 46.61 / kitana / [drawing]" [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

[Mention of the photograph or the event]

source: Museum der Kulturen Basel, VI 56197, 58 (326)
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

I: Okay thanks, now let's take another picture, I have another picture of another item that is registered with the number 2018_18346_001, look at it, can you identify what is it? R: This is nyengo like the one I told you, a big handle is put and then you use it for cutting grass. I: How did you identify it? R: I was able to identify it because I saw some people with nyengo like the first one, they had fixed a handle like this and doing other things like grass cutting. I: Nyengo like that one was mostly used by which communities? R: This nyengo is used by people from Iringa who are here, there are some of them who still have these. I: Can you mention the names of those communities? R: The Bena community. I: So the Bena community had been using these nyengo? R: And the Hehe community. I: Can you briefly explain to me its use? R: The use of ths is to cut in the forest, I mean you can use it while standing than a panga or fauno, which you cut while bending. I: Why do you think it was made with such a long handle? R: About that I can't understand but I think maybe it's just to make it easier for him. I: What gender were exactly using those big nyengo? R: They were male. I: Why the male? R: It is used by men because it is mostly used to cut in the forest, a forest cutting mostly is done by men different from grass cutting, if go to the forest you will find men are the first to get in forests. I: What age are exactly using such nyengo like this? R: Even the older ones. I: What age for your estimation? R: The ones I saw them was from 45 years old and above. I: Why of that age? R: I don’t know possibly in Iringa even children are using it, because what I had seen here is older ages. I: In your opinion, do you think it will come a time ‘nyengo’ of that kind will no longer be used to people of the Bena community as you mentioned? R: People of this community possibly it is their traditional, honestly to stop this ... there was one of them who had it... I: When we finish, we will go to him and see them. R: Okay, we will go and look at it, I once saw him with it, he will show us. I: So, it is part of traditional practice? R: Yes, it is part of their tradition because it was brought by the Bena community and we are seeing with them, the rest of us are imitating, hence we can buy or make it, you go to a technician and tell him make for me a ‘nyengo’ like this one using this metals, so he makes it for you and put a handle and use it. I: For a person to use the big nyendo like that, what else should he have? R: It is only the nyengo, because when using it you must hold it with both hands, so there is no other thing to hold. I: Are Bena community still making the similar nyengo? R: Currently I think they still continue, here I see they have stopped maybe if you need it for the sake of a forest, you find a technician and he make it for you. I: Those who make the big nyengo are people of which gender? R: Because they come from there, I think the Bena community elders know about it, it is only the older people, and I don't think also children can either make them. I: But here you said there are technicians who can make it? R: This gentleman can make it. I: He is a Bena in community. R: Yes. R2: This is a ‘mundu’ (sickle). R: But ‘mundu’ is a panga. R2: Fine, but if you mention ‘mundu’ they understand it the one with a long handle. All: Anha R2: We use it for cutting grass in gardens. I: What community is ‘Mundu?’ R2: ‘Mundu’ is in Swahili language, but at our home we call it ‘nyengo’ I: Is that Bena community? R2: Yes, it is ‘nyengo’ in Bena language, the Hehe community are calling it ‘nyengo’, the Kinga community are calling it 'sidavala' I: How does this kind of ‘nyengo’ used? R2: This is for cutting weeds, if you want to cultivate in valleys, you us it for cutting I: Why does it have a long handle? R2: If you are cutting grass in your farm, you are using this for pulling, such that you are not pierced with thorns. I: Tell us what gender are they making nyengo? R2: The men, the old people make them. I: Of what age? R2: Of the older age, they forge a metal to make this, you can have a metal and take it to a technician, he forges it for you then he makes it and it looks like this. I: Which people mostly used it, was it the female or male? R2: The men, and even female can use them, this was used with by people. I: Can you tell me what materials are used to make nyengo. R2: They are damaged metals, that you can take it to a technician then he makes it for you. I: Is it metal alone or there is another thing? R2: The older ones the metals were forged then they make the tool. I: The materials used to make the nyengo during the older time, are they currently changed? R2: They have changed, nowadays the metal is joined together. I: If you find a nyengo like that in a market this moment, how much shillings can you buy it? R2: Let me not lie, the price is unknown, the price you are going to be told, you can negotiate but those the ones coming from our home are not available here. I: Which regions exactly do they make this? R2: It from Iringa going to Njombe to all the way to Upanga, Makete, Ukinga, these are mostly being used there.

source: Amani-Stade Project / Amani Field Research 2023, Interview No. 10
author: I: Mohamed Seif, R: Anonymous, R2: Anonymous

Ort der fotografischen Aufnahme

"Saturday, March 11, 1905 [underlined] The following came into my possession: 24. a Waschambaa tobacco pipe. Clay head with [...] [?] 30 cm long pipe. (= 12 pesa). [Drawing] [...]" [translation]

source: Museum der Kulturen Basel, VI 56197, 44 (80)
author: Karl Braun

"24. Tobacco pipe of the Shambala / black clay, 30 cm long tube of pierced (glowing wire) wood. (= 12 pesa) / Amani 11 March 1905 / TB [diary]. 44.80 [drawing]" [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

I: Okay, let me give you a photo with registration number 2018_18555_001, look and tell us what is that? R: I know this I: What is that? R: This is Mtemba I: Mtemba? R: Eeeeh! I: Hahahah! R: They call it Kiko I: Kiko? R: Eeeeh! I: Ahaaah R: In Sambaa is Kiko I: Kiko? R: Eeeeh! I: Ahaaah R: In Sambaa is Kiko I: It is Kiko in Sambaa? R: Eeeeh! Kiko I: What langauge is Mtemba? R: Let’s say it mixes up some different communities but in a common language it is Mtemba I: Is Mtemba a Sambaa or for both? R: It is same as Kiswahili I: Kiswahili R: Eeeeh! I: The people of which communities have been using Mtemba? R: The Sambaa and some of the mainland communities have been using Mtemba I: What are those mainland communities? R: The people of Tabora, Shinyanga and some regions of Mbeya and Iringa it is where people are using Mitemba I: How has it been used; can you tell us? R: This was being used when a tobacco was brought from the farm being cut into some small pieces and put into it with a fire, then he holds it and start smoking by using that Mtemba I: Smoking? R: Eeeeeh! That’s how I observed even to our grand fathers eeeh! I: It was the people of which gender commonly used Mtemba? R: Mostly was the male gender I: The males? R: Yes I: Of which age? R: The age now, because this has disappeared, they are very rarely used but in those years of 50’s and above I: Were they using Mtemba? R: Very much eeeh! I: Why Mtemba was being used by the age of fifty years and above? R: You know at that time mtemba was commonly being used because there were no industrial sigarates, people didn’t use sigarate, mostly they used to have tobacco plants outside their houses, they dried, milled and being folded in round shape, so when it got dried he started picking up one by one sqeezing it on his palm, preparing it and put in the Mtemba put on the fire ready to smoke I: He smokes? R: Eeeh! They were of two types, the one which used some fresh grasses which was being cut put into the traditional mill until they were ready, then they were being put in here by squeezing particulary after being dried, so its dust was being put in Mtemba ready for smoking eeh! They are of two different types I: They are of two types? R: Eeeeh! That was the use of tobacco I: Is that object still being used or it has disappeared? R: In avarage if has been very luckily seeing the youth imitating but it is not commonly used I: Do you think it will reach a time when Mtemba will no longer be used? R: It will reach in the next coming years I: What will contribute for Mtemba to not being used again? R: You know the traditional ones didn’t have some many effects, because I observed some of the people smoking it whout hearing him coughing, because they didn’t use the modern one, you could find someone is smoking the traditional for some years without hearing him coughing and being told to stop using it, frank speaking I never found anyone back then coughing haphazardly when using it I: So, what do you think will contribute Mtemba to not being used, Mr. [anonymous]? R: This Mtemba I: Eeeeh! R: People are changing I: How do they change? R: They change according to the modernity, you can not go at a foreign place with Mtemba, people will look at you and discuss what are you doing, but if someone enter in his pocked and draw out the sigarate and smoke it while its smoke goes that way eeh! It doesn’t smell like how the past tobacco used to smell, though there was a certain tobacco which was being brought from there, when it was put in Mtemba and put in on, everyone liked its smell, it was so good I: Eeeh! R: Currently they are not brought here, we don’t see them that is why majority of the people have shifted to sigarates such as SM, Sports and commonly the bitter sigarate are seen very rarely, but those whith some filters are som many, as the days goes on Mitemba will be very few I: Because of the modernity? R: Eheeeh! I: Okay, for Mtemba to be used what else was required to be used concurrently with it? R: In preparing that tobacco as you know the past preparations didn’t follow some measurements, meaning when it was brought from the farm, it was used as it was eeeh! I: So, to use Mtemba someone was a must to have tobacco? R: Eeeh! tobacco I: You can’t use Mtemba without tobacco? R: Aaaah! You cannot use it I: What else went hand in hand with the use of Mtemba, tell us Mr. [anonymous]? R: Some of the were being unfolding the sigarate and take its materials and put it in Mtemba for smoking eeeh! For those who didn’t like the fresh tobacco from the farm used to do that, they unfolded the sigarate take that tobacco and put it in Mtemba read for being smoked I: For those communities which had the tradition of using Mtemba, do you think it will be removed by the modernity you mentioned? R: Slowly will disappear because even in the past people didn’t like some ugali prepared by some flour from the posho mill, they only wanted the flour from the traditional mill, but currently they are all using some flour from the posho mills, so, even that it will disappear sometimes I: Okay, what was the importance of Mtemba? R: Because I didn’t smoke Mtemba, I don’t know why the smokers preferred it I: Because some of the people are saying if you are walking with mtemba, your being considered a person of a certain status, how was it for the others? R: It depends as you said there are some of the places you could find it being a strange thing to fina an elder just like me walking without Bakora, but currently you can find in a group of people it is only two of them having Bakora, so things go with time I: Aaah! R: Yes, even this Mtemba here its rate is getting down I: Do you think Mtemba is still being produced in the currently environment, and could you know where? R: They are there but not in all places; they are very few and you can find one or two of them in one hundred people I: Why few of them? R: You know things like people laughing at you that you are still using those old things, so, sometimes that thing enters them, that is why they decide to stop using them I: So, it is being considered as an old object? R: Eeeh! It is an old object I: Hahahahah! Okay, you said it was being used by the elders R: Yes, the elders I: Of which gender? R: Mostly it was the males I: The male? R: Eeeeh! I: Why it was commonly for the male elders? R: It was very unfortunatelly to find a female gender smoking Mtemba, it was very rarely but commonly it was for the males I: The males? R: Eeeeh! I: Who were making Mitemba between the males and the females? R: The males I: The males? R: Eeeeh! It was them who used to make Mitemba I: Why it was commonly for the males? R: You there in the past there were things meaning that every gender used to have their things of which if you could have been found, there was not a cost of being asked for example a male to be found with a traditional mill and some dried cassava (makopa) milling them, there people could ask why this is doing that, is he mentally fit I: Hahahahah! R: That everything had its people, the female gender had their things and the males’ gender as well I: Okay, currently you mentioned Dododoma region, what are the other regions which makes it? R: Commonly in the mainland regions I: The mainland? R: Yes, the mainland regions eeeh! I: Such as? R: Even in some enterior part of our Tanga region, somone can stay for a week or a month without seing a car, he/she only hear about it, so you can find that in those places the traditional things are still existing, for example some thatched houses or the house without a window, of which you can not find that kind of house in our environment here, but there are some places where those kinds of houses are still existing, so you could find people are still smoking Mitemba as usual eee! I: What materials were being used in making Mtemba? R: There were two different types of them, the one made of soil and the other one of the trees I: Of the tree? R: Eeeeh! I: What kind of soil which was being used? R: Clay soil I: Clay soil? R: Yes I: What was that kind of tree which was used in making it? R: There was a certain tree which I don’t know it’s name, so this pot which hold the tobacco it is being made of clay soil but its pipe which release some smokes to the smoker was made of a tree I: Of the tree? R: Yes I: Why did they used clay soil? R: Because of the fire here it doesn’t burn I: It doesn’t burn? R: Yes, even when it is well completed and the way you burnt it, even when it fell down can’t break I: Aaaah! R: Yes I: Okay, did the materials which were used in making Mtemba changed as the years went on or remained the same? R: You know sometimes it is the technics or the design of that thing, you could find that someone saw it at his fellow and come to produce the same design I: Yes R: Eeeeh! I: We are talking about materials R: The materials are the same but it the technician skills which can differentiate it I: That’s how you differentiate it? R: Yes I: Mtemba like that on the photp when brought into the current market situation how much would it be sold? R: It will depend on the one who made it or how much the buyer bought it because you can not set the price to the seller, your only the buyer and the price is being set by the seller depending on how much he bought it and how much he want to get on top of that, so when he comes here can sell it with any price he want I: Can’t you estimate it, suppose you find it in the market how much would be ready to pay for it? R: Now there I: By estimating R: Because if you liked it even when your being told it is five thousand you will not have a choice to buy it

source: Amani-Stade Project / Amani Field Research 2023 / Interview No. 04
author: I: Mohamed Seif, R: Anonymous

I: There is another photo, this photo is registered with the number 2018_18555_001, look at that photo, can you recognize what is that? R: In Swahili they call it "mtemba" but we call it "kiko"... I: Kiko it is in what language? R: It is in Sambaa language. I: And the Mtemba? R: ‘Mtemba is in Swahili, people use it to put tobacco in it, a person used to smoke using it. I: So, in Sambaa language it is called ‘Kiko?’ R: Yes it is ‘kiko’, a person tells you bring me my ‘kiko’, that is bring me my ‘mtemba’, then bring a hot charcoal and it was put in it, this was expecially used by the Jumbe’s, when he finished his smoking he removed the ashes and he can sometimes tell you to go and collect it where he has poured it, currently they are making it but not like the past one, this past ons is more strong and it is good. I: Were they the Jumbe’s alone who smoked it? R: They were famous people who smoked it, ‘Wadoe’ smoked it but not infront of the ‘Jumbe’, maybe in your house with your wives, if you smoke it infront of the ‘Jumbe’ he will ask ‘who is this trying to be like us… oh!... All: Laughing. R: Especially Mkande’s father, he used to say 'ushe ni ndai we', that means, ‘who is this that he wants to take us over’, so you won’t be able to do that because you were afraid to be arrested or put in a bad place because of the smoking of ‘mtemba’ or the ‘kiko’. I: What kind of people used to smoke ‘mitemba?’ R: They were people of high class. I: Can you tell us in which communities? R: It was mostly the Sambaa, Wambugu and the Zigua who really liked the issues of royalty, and infact you could find a Zigua person having more than four houses, he could send you to bring him his ‘mtemba’ from his young wife, you would find him seated on his chair, there were the kind of seats made with sacks, so the person seats on it smoking, so it was smoked by very famous person. I: Especially which regions were the ‘mitemba’ available? R: Mostly in Tanga it was available, and also at the mainland regions and in Zigua land, the Ziguans are very good in cultural matters, they were very fond of that culture, even these seats I saw them, there were chairs for playing drums like that belonging to Mr. Chei, when the drum was played it was informing that there was an accident or illness, it was playing itself ‘ndi ndi ndi’ so in regions which liked this culture were the Ziguans and here in Kazita which was also called Handei, previously it used to be called Amani – Handei. I: What age of people used to smoke ‘kiko?’ R: It was when you were allowed, once you were married you were allowed to smoke the ‘kiko’. I: So they started at what age? R: It was from…you go to graze animals and when you were back home you breast fed to your mother, when you reached 30, 35 years old, it was when you were allowed, to get the wife and you were directed to a certain house to marry, so when you were given the ‘mtemba’ you were permitted probably from your grandfather to smoke it. I: How do you get it? R: Probably you go to cultivate for him or you gave him 5 cents, that was when he allowed you to smoke the tobacco, you were not allowed like now that you have not even completed class 4 you start smoking, in the past it was until you were allowed by your grandfather, it was not your father but your grandfather, he is the one who knows this person has a family and that was when he allowed you, but this moment... All: Laughing. R: Oh, those are ancient things, this reminds me of very old things. I: Were the women also smoked ‘mitemba?’ bamboo R: No. I: Why? R: The women used to smoke take ten cent cigarettes and putting magadi here, but you will never see a woman smoking. I: Why didn’t the women smoke mitemba?’. R: Women were really bullied a lot, that is a woman was not given freedom, very oftenly she was sent to bring the ‘mtembo’, ‘bring for me my kiko near the bed’, and she was not allowed to smoke like ‘fuu’, he will blow it himself and smoke, oftenly he was sending them to throw the ash and add some tobacco for him. I: So, they were serving them? R: They were only serving; they were not allowed to smoke. I: Are the kiko still in use or do you think they were lost and no longer valuable in society? R: In fact you have remind me that not less than 50 years old when I last saw it, I found one like this in a farm but never again, I don’t know if they can be found in shops or if the Maasai people can make cultural things, but currently they are not existing and I should not lie you. I: You said they smoke the tobacco with a hot charcoal, and the person who smoked was sitting on a special chair, can you tell us how did the seat looked like? R: There were the chairs made with sacks, you fold and unfold then you sit, he could sleep like on a bed, but it was not a bed... I: They used to say they were the lazy chairs. R: Yes, they were saying the lazy chairs, so when you find him sitting there, run away and go for the grazing, obvious you will be sent the kiko... All: Laughing. R: If you saw him seated outside with his walking stick, he must send you ‘they, go and bring me my kiko’, and probably some hot charcoals were not available there, you had to find it in other houses. I: How was the importance to the culture of the people you have mentioned? R: It was like these young people who smoke cigarettes today, I also smoked cigarettes, it’s like it was creating some feelings in thinking. I: You said the young people were allowed by their grandfather, it seemed it was very important in their issues of tradition or culture, what was the importance to reach the point that... R: You could not smoke it if you were a young man, he knew this gentleman already has a wife and he is married, hence that's why you find him with a kiko, it was a sign to show you're matured, this was the same like the Maasai when he wanted to marry a wife he must kill a lion, in our culture we say this man is strong, so it is the same like that.... All: Laughing. R: Have you understood me upto that point, they said as long as he smokes he was capable to raise his house with his wife, for sure it is not a secret, when we were young going to take bath with ladies we didn’t know how they were, but now they know everything, so this symbolizes you were capable to care the wife and that was when you were allowed to smoke the kiko, now you don’t have a farm, you are still cared by your father and you smoke, your wife is still cared with your parents. I: Mr. [anonymous] can you tell us who were making the kiko, what gender, and at what age? R: They were made by people aged 20 - 25 years, but a young man cannot make this kiko, in fact how are you going to start it, actually you cannot find these trees right now, these trees are hard, if you make a kiko with these current trees for smoking they get burnt, hence these trees are very hard and you cannot find them. I: Can you tell us what kind of trees were used to make this... and what is this, is it a pot or a what... R: This is a pot, they used to make pots, there was a certain strong clay that you could make pots for cooking, currently we are using sufurias to cook but in the past it was pots, currently we are grinding maize but in the past we used to pound and soak, it made a good very ugali, now I don’t understand if that kind of clay is stil existing. I: And what was the name of that hard tree? R: Actually, I have forgotten the names of these trees, but they said it was like ebony trees that you could pierce a hole by something, so you burn to pierce a hole. I: And that rope R: This rope was helping to hang it, they were not kept down. I: And what kind of a rope is that? R: These are sisal ropes or dwarf palm which could also weave beds, currently we are sleeping using wood beds, but we used to sleep on weaving beds, in fact you have reminded me of a lot, especially the thing about kiko and the trees of Amani. I: So, if you bring that kiko here right now, how many can it be sold? R: Oh! Possibly like 100,000/= or 200,000/=, in fact where will I get it, it is not easy to get it.

source: Amani-Stade Project / Amani Field Research 2023 / Interview No. 21
author: I: Mohamed Seif, R: Anonymous

I: Let’s continue with this photo, this photo is registered under the number 2018_18555_001, take a look at it. R: They used certain types of wood that have a hollow in the middle... I: And that is also a “Kiko”? R: Yes, it’s a “Kiko,” similar to that mianzi wood because it has a hollow inside. Here in Africa, people can make this, but when a European takes it and comes here, they make it more elaborate to attract an African buyer. But this one is from us Africans ourselves. I: So that one is African? R: Yes, because this type of wood grows here with us. I: Have you ever seen a “Kiko” like that? R: Yes, with the older people. My grandmother used to sell this. I: That’s number two? R: My grandmother used to smoke this; she’s a mother and really liked it. I: That’s “Kiko” number two? R: Yes, she really liked it especially with a small channel. When she sat on the couch, you’d be talking here and she’d just be smoking. She puts the tobacco herself because it gets hot. You can’t tell a child to hold the “Kiko” and put tobacco here, the child would get burned. But you yourself can hold it for a long time because you’re used to smoking. But if you tell a child to put tobacco there, it will harm them because the tobacco is poisonous if it gets in the eyes and causes burning. That’s why you see red eyes often from tobacco. I: And this “Kiko” smoking – did people have to learn it, or how does someone become a “Kiko” smoker? R: You know, when you smoke the “Kiko,” even your relatives will ask you how you do it. You tell them your job is to do “pu pu pu” while holding it and smoking. So when they see you sitting like that, they see how enjoyable it is to smoke the “Kiko.” These have existed for a long time. I: And only older people smoked, not the young? R: You know, people back then were not like today. An adult wouldn’t let a child smoke this. Young children shouldn’t smoke like this; people say if young children smoke, they will get sick. I: I remember you said this morning that “Mtemba” was also used for healing. R: You know, this “Mtemba” sometimes has a kind of lump inside, because of the tobacco smoke. If a child has stomach pain or gas, this is rubbed on the belly. When applied, the child breathes easier and the stomach goes down. I: So that’s the lump caused by smoking “Kiko”? R: Yes, it’s rubbed on the navel. I: And it heals? R: Yes, if the child gets rubbed every hour, it gets better and the stomach shrinks. I: (laughs) Was that just for gas or did it have other effects? R: No, it’s just for gas. If the child has gas, they take this and rub it on the belly, then the stomach goes down. I: [anonym], you said your grandmother used “Kiko” number two? R: Yes. I: There’s also another longer, bigger “Kiko,” the head is a bit bigger. Why do you think there were small and big ones made? R: You know, sometimes there are “Kiko” that take a lot of tobacco and others that take less. This one holds a lot because you smoke longer, but this one you don’t smoke for long. I: When you say it takes a long time, is the tobacco finished and then it’s extinguished? R: Yes, when the tobacco here is finished, if it gets too hot, you scratch it somewhere so it goes out by itself. There are “Kiko” that hold little tobacco and those that hold a lot. You know, a person can have one “Mtemba” but many heads that are all the same size. Sometimes they switch the head, but not every “Mtemba” needs its own “Kiko” head. I: And when did they usually smoke “Mtemba”? Anytime they wanted or were there special times? R: You know, the older people sometimes were sick, they smoked when hungry. They said it reduces hunger, or sometimes they smoked to relax. I: At one place we were told that they smoked “Kiko” during meetings. The elders sit together, discuss their affairs, and each has their own “Kiko.” R: Sometimes the “Kiko” was smoked during meetings or when there was news about a child wanting to get married and pay a dowry. Then wise elders would be called to send the gifts, so you’d say you must smoke to keep your mind clear. Or if a child misbehaved and had to be punished, the elder must smoke to keep his mind sharp. All: (laugh)

source: Amani-Stade Project / Mlalo Field Research 2023 / Interview No. 05
author: I: Mohamed Seif, R: Anonymous

I: Alright, please allow me to show you another picture – this second picture is registered under the number 2018_18555_001. Take a look at it, can you tell us what this is? R: This is also a kipunde, but it's a different type of kipunde used for decoration, yes. But this one, as I mentioned earlier, you can place a hot stone in it – originally, it was meant for placing a hot stone inside. I: To place a hot stone inside? R: Yes, and then you blow into it, bububuu, it makes a sound in the front, and the fire comes out in front. I: So this is also a kipunde? R: Yes, it's also a kipunde. I: Maybe you can tell us, among the ethnic groups you mentioned, which one preferred to use this kind of kipunde? R: In the areas of the Wapare. I: Wapare? R: Yes, Wapare. I: So, in the areas of the Wapare. R: That's right. I: The Wasambaa never used it? R: This one – no, the one with the long wood, no. The Wasambaa had a shorter one, it didn’t go very far. That’s right. I: So it was the Wapare who used the long wooden ones? R: Exactly.

source: Amani-Stade Project / Mlalo Field Research 2023 / Interview No. 01
author: I: Mohamed Seif, R: Anonymous

I: OK, I’ll take another photo. I have another one here that’s saved as 2018_18555_001. [anonym], please take a look at it and hand it to [anonym]. What do you think this is? R1: I believe it’s the same “Kiko.” I: Mr. [anonym]? R2: When I look at it, I see that it’s a “Kiko” with a string hanging from it. I: Mr. [anonym], can you remember seeing a “Kiko” like this before? R1: I’ve seen one before, but never with such strings. I: Mr. [anonym], let’s talk about what we see here. Do you see any difference between this one and the others? R1: The difference is that the tobacco chamber in this one is long, while in the others it’s short. I: Mr. [anonym], why do you think one was made short and the other long? R1: I think it’s just for decoration. This one can be filled with a lot of tobacco because you don’t smoke it from beginning to end. You smoke, remove the tobacco, and then continue smoking. This one, however, is filled with less tobacco. I think that’s the reason.

source: Amani-Stade Project / Mlalo Field Research 2023 / Interview No. 10
author: I: Mohamed Seif, R1: Anonymous

I: Mr. [anonym]? R2: When I look at it, that’s a “Kiko,” but there’s a string there – I’m not sure where it’s supposed to hang, but it’s a “Kiko.” I: Alright, [anonym], please tell us – can you identify what materials were used to make these two? R2: This “Kiko” here, if we compare, it’s just clay, potter’s clay that was used to make it. I: What color is it? R2: It’s black. I: Black color? R2: Yes, and the wood used is a type we call mianzi, it has a hollow inside, and you carve it out. I: And what do you think the string was used for? R2: You can also find it in our area – I could go look for it in the forest, it grows there, with a hollow center. R2: I’ve seen “Kiko” like this before used by Europeans – back then we called them the Dutch. I: They were called Dutch at that time? R2: Yes, Dutch. You’d see one of them holding his “Kiko,” sitting somewhere calmly – that’s how we saw them, and theirs were more refined than those of our ancestors. That’s why we were surprised – turns out theirs were more advanced. I: So they improved them? R2: Yes, exactly. I: Alright, [anonym], if a “Kiko” like this were to appear today and someone who smokes saw it – how much do you think they’d pay for it? Please tell us. R2: This could sell for even thirty thousand shillings, honestly – because it’s a high-quality “Kiko.” I: Why? R2: Because of its quality – the way it’s been refined. I: So the Dutch used to smoke with them? R2: Those who know the value of “Kiko” – it’s really valuable. I: These Dutch – when did you see them around here? R2: Here, that was in 1963. They came in 1964, 1965, 1966 – up to 1967, they used to come here often. I: Until 1967? R2: Yes, exactly.

source: Amani-Stade Project / Mlalo Field Research 2023 / Interview No. 10
author: I: Mohamed Seif, R2: Anonymous

"Sunday, December 24, 1905. [underlined, p. 60] [p. 61] [...] In the evening came the [...] [?] which have ethnographic value. Almost all were procured for me by Max. Snuff box made of horn & wood, bought here from a Swahili (1 Rupia). Similar illustration in Baumann. Usambara. 1891. p. 231. / Kiswahili: tabakero is made by Wanjamwezi [drawing with material details] Wood Horn Wood / Combs, 3 pieces similar to those I illustrated in diary TB. 44, p. 68. One comb like the attached illustration & one was recently carved for me by a Njamwezi named [?], it had the following shape [drawing] / Kiswahili: schamo / and was unfinished made from [p. 62] white soft wood, while the others come from one and the same Fundi (craftsman), who specializes in them. These are yellow and smooth. [drawing] / Small and larger carved round spoons with burnt-in designs, shallowly hollowed, the figures vary. [drawings of seven spoons a-g, partly detailed drawings with labels] Kiswahili: kijiko / mwiko / wu bu [?] / a deep spoon: [drawing h] [drawing of a flute with material details] Wooden flute Tin Gourd Pumpkin Wood Kiswahili: nzumari [corrected to zumari] [p. 63] Device for hollowing coconuts. The halved nut is rasped out with a saw-toothed iron [correction], while the man who operates it sits on the apparatus itself. The wooden parts are carved from one piece & foldable. [Two drawings, one showing a detail] Kiswahili: mbuzi (actually = goat) / A bush knife called "munde" in Kiswahili. Most come from Germany, but these have a much slimmer shape. [drawing] Max received two Chinese pictures embroidered on darkest silk to hang on the wall [p. 64]. I had actually [?] bought them, like the other fabric goods, from an Indian in Tanga. Then a transparent thin fiber fabric, perhaps pineapple fiber, with very colorful butterflies embroidered from thick silk threads. A table runner made of silk, Indian work. –" [translation]

source: Museum der Kulturen Basel, VI 56197, 46 (63)
author: Karl Braun

"53. Bush knife = mundu / Amani 24 Dec 1905 / TB [diary]. 46.63 / Material designation to drawing] Wood Hyphaene coriacea, iron / [drawing]" [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

I: Okay, now we go to another picture, we have another picture registered with the number 2018_18293_001, look at it, can you identify what is this? R: This is a knife, but this knife was for a very old man, that is, he can tell you 'kaniletee giatu ni jangu' this means ‘go and bring me my knife’, this was the one. I: What was it called? R: 'Tuni' I: What community is that? R: That is Sambaa community, in Pare community it is 'kahandwi', so this is a special kahandwi, and this same knife could be used to shave when finishing a funeral, this knife was special to the traditional elders, not that you will find them with anyone, but after this point of the young generation they were made in large quantities, sometimes the local healers cut incisions to people, they are very sharp, they were sharpened on special black stones as you told me. I: So, they were used by the elders? R: Yes, the elders. I: From what age? R: From 60 to 90 years old, you find him staying with it, he might be unable to use it but he had it, and he could make a will that if I die the knife should be given to Karedio, this was never changed, or maybe you take it and say I will give it to a certain person, but without that it will be kept until you are back. I: So, it was directly connected to the tradition? R: Yes. I: And you said anyone can have it at this moment? R: Yes. I: Why do you think it has become easier for everyone to have it now compared to those years? R: The traditional ethics have fallen, currently there is no traditional concern, because right now if you tell someone to sharpen it with a stone not with a grinding stone, he will say you will kill me, he is used in sharpening ‘chwaaaa’, he sharpens it both sides at the moment then he leaves, in that period there were no grinding stones, there are sharpening stones and hitting stones. I: What were the special sharpening stones called? R: 'Ibwe' I: What does it mean? R: It is a stone, when you were told 'kaniendie ibwe maalum’, you were also directed where to get it, it is not available easily. I: Okay, can you tell us who was making it? R: It used to be made by the ancestors and they inherited it like that, then it went, and other people were inherited, like the way we are talking here if you ask for it, I can make it and inherit it to you. I: Can you identify what material the knife was exactly made with? R: They were metals which were burnt in fire, I mean the rocks that were blown up were kept in the so-called 'mvuo', they said 'uvugwithwa' meaning it was melted until it became red, and they flattened it on a stone until it looks like this. I: So, it was metal, what other material was used to make this tool? R: Maybe the handle was the other thing that was joined, on this part it is made thin with its handle and trying to improve it with other things, others were covering it with the skin of… there is an animal in the Pare community it is called 'sunipaa', the antelope, things like that were the skins used to be worn on special knives like this. I: Why was it that animal? R: They said that the animal has some kind of blessings, it is like when people say if you come to meet kakakuona something will happen, or there is a blessing, or sometimes they said if you meet kakakuona in an improper environment that is a disaster, at this moment you can stay outside and there is no forest, then you happen to see a wild animal standing there, so the elders can predict that it is a calamity, then go and perform ritual, or it is a blessing depending on when it has happened. I: Okay fine, so it was a sign of blessing, and the handle was exactly made with what kind of wood? R: There is a tree called 'mzuu', in the Pare community they call it 'mthuluu', that was the kind of tree I used to see being used in making the handles of the special knives and the walking stick of the old people, but I have never seen a walking stick made here. I: Why were they only using that tree? R: They said it was a hard tree and as well a blessed tree. I: So, it was hard and with blessings, and that is why they were using the skin of that animal because it also had blessings? R: Yes, they go together with blessings, you know the past people were different. During my late grandfather, a black snake got inside and we shouted 'a snake, a snake’ then he said no, don’t kill it, he got inside and took a bottle of ghee and poured it on the snake, then it walked out. He said we should not kill it because it has brought a blessing, and this was because it is black. But if it could be green he said kill it, if a green snake gets inside it was a disaster so it should be killed. For example these antelopes, it was chased and got in a goat shed, I witnessed that 2 to 3 times with my late grandfather. Getting into the goat shed the hunters were after it, but my grandfather stopped them and said ‘please choose a goat you prefer and leave it’. They were complaining the animal belonged to them, but he told them leave it because it has surrendered and it has brought blessings in my goat shed. The animal will stay there and when the goats were taken out it follows them for grazing. Now we don't eat that animal for those reasons, he said it has come to us to surrender so it is not good to eat it. I: A ‘tuni’ like that, how much shillings can you buy it for now? R: This moment maybe at Tsh. 5000/=, it had not many things when making it, they were very few as I told you.

source: Amani-Stade Project / Amani Field Research, Interview No. 5
author: I: Mohamed Seif, R: Anonymous

"Donnerstag d. 30. November 1905 [unterstrichen] Von zwei [?] hier durchkommenden Massais kaufte ich einen Schild für 4 ½ Rupie, ferner 2 Knieschnüre, dünn mit Glasperlen besetzte Lederstreifen, eine Laibschnur, ebenso aber größer, einen Armschmuck wie Tagebuch 43. S.103 à 50 Heller & 75 Heller & und eine aus stark riechenden Holz hergestellte & mit rotem Lehm eingeriebenen Halskette (50 Heller) s. S.108. [Zeichnung, farbig Schild]" [translation]

source: Museum der Kulturen Basel, VI 56197, 46 (41)
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

I: Hahahaha, fine I have another picture registered with the number 2018_18407_1, Mr. [anonymous], you recognized this picture, remind me what is the name of that thing? R2: This is something for decoration. I: What is it called? R2: Emburunoti, this is a woven soft skin, it has been twined for decorations for putting the beads as we told you, these beads are of two designs, there is the one that goes through here and there is the other one that is worn on the head by the morans who is the leader in the ceremony; that he can lead about 600 morans, he is the one who comes out with his emburunoti. I: Mr. [anonymous], for the Maasai community, what other material was used apart from the skin? R2: For us, there is no other way to make this, it is only the skin but maybe there is another community that are making using the sheep skin. R1: And in fact, you cannot even get a sheep's horn and bend it like that, so it is impossible, it is not easy to bend a sheep's horn until it changes like this. I: So, this emburunoti is for bonding the beads? R2: Yes, it bonds the beads. I: So, the leader of the moran is the one who wears that? R2: Yes, the one who leads the dance. I: Was it worn in the dance? R2: Yes, in the dance when there is a ceremony. I: Mr. [anonymous] tell us, so there can be 600 morans and he is the leader? R2: Yes, he is pointed and told to lead his fellows, he takes them in the boma, because they are normally outside so the boma, hence he is appointed to lead them to the ceremony in the boma or in any festival held. I: Fine, currently are these emburunoti still made? R2: Nowadays it is no longer there because the kisinga are no more there, even the spears are lost, if you happen to find them, they are the small ones which are black and not the white ones. I: The long ones? R2: The longer ones are no longer there. I: Okay fine, and those who wore them, were they only the morans? R2: Yes, they were the morans alone, it was not allowed to an old man or a boy who hasn't been circumcised, it was only the morans. I: For instance, if a person needs it although they are lost, if it is made how much shillings can it cost? R2: This requires an expert, not everyone can make this because it is not easy, so the expert can value it hence if I mention the price I can lie, hahha. I: Hahhahaha, Mr. [anonymous] tell us where they the same morans making them? R2: Even the elderly, but not all of them who knows, possibly in 100 people only 3 of them can be experts, so he is the one who knows how long it will take and how much it will cost when it is complete, but it is difficult for me to know because I am not an expert, so I don't know how much it will cost. I: So, it was the old men who were making them? R2: Yes, they were men that if you show them, they can make it.

source: Amani-Stade Project / Massai Field Research 2023 / Interview No. 04
author: I: Mohamed Seif, R1, R2: Anonymous

I: Hahhahha fine, I have another picture registered with the number 2018_18407_1, number 2 you recognized it very well, what is that tool called? R2: ‘Erapu’. I: What was the work of that ‘erapu’? R2: It is called ‘Erapu’, it is a horn of a buffalo, it is carved, and some beads are put here, and this is a rope used to be tied on the arm such that a moran can dance with it and singing, it swings like he is dancing with it. I: Was it only for dancing? R2: It's just a game of fun. I: And was it only for moran? R2: Yes, only for the moran, it was for dancing. I: Dancing the drums? R2: Yes. I: So, you said it was a buffalo horn? R2: Yes, a buffalo horn. I: Can you tell us how it is made? R2: The horn of a buffalo has a part that is straight and a curved part, an expert carves it to make the size of a hand, so it is carved to make the size of the hand. I: What else was used apart from that horn? R2: Nothing more except that these beads were added on both sides, they were beads put here because of binding. I: This rope is for what purpose? R2: This is a rope for binding, and this is just a horn, on this side there is nothing else, only roughness of the horn, the only addition is beads. I: If you look here, you can see there is a rope bounded? R2: This is scraped and then painted. I: So, it is a buffalo horn? R2: Yes. I: So, it was only for dancing drums? R2: It was for dancing, but not to all, only the few who liked to decorate themselves were the ones dancing. I: This one did not have a junior and senior stage? R2: No, it doesn’t. R1: To add on that, there were people making them for sale, but they exchanged with one goat, hence that was their business. I: Are they still made? R2: No. I: Why are they lost? R3: Nowadays really many things about traditions and customs are getting lost, I was prepared to explain a lot, but I see where we have reached, actually we are of the same age group, me and this one. I: Currently what is your age stage called? R3: ‘Seuri’, and these issues ended with us, the coming generation have nothing anymore, they no longer follow it, they have stopped it completely and many things have been lost, for example, there are many things I normally get, I receive foreign visitors then I lecture them about traditions and customs, there are things they ask but they have found them lost a long time ago. I: What dance did they start to play, and must the morans wear this ‘erapu’? R3: It was any dance if it is danced by the morans, the elders had their songs, the women had their songs, the moran had their songs and the girls had their songs, hence when the morans were dancing they must have their girls to dance with. I: So, they dance with their ‘ndito’? R3: Yes, the ‘ndito’, they had their own dances and many songs. I: What was the most famous Maasai dance that they used to dance while wearing this? R2: There was a song called ‘emborokoi’, it was very popular, and even the oldest people sang it and the next generation sang it too, it was popular. Another one was called ‘elongishu’, which was sung by the morans with their girls, so the girls had to be there to sing for them. It was a very popular song and even recently they sung it. But now it has changed; currently the youth are playing guitars, and there is no chorus like the girls singing, so only the guitar is played, and these traditions have been lost. R1: There were three types of songs that were popular as he mentioned by participant number 2, ‘emburugoi’, ‘elongishu’ and ‘punyaa’. At that time when they had this tool, those songs were popular and were used, later other songs followed, but this is no longer there. I: Which hand was it worn on? R1: This was very common to be worn on the left hand and not any other hand. I: Why were they wearing on the left hand? R2: It was the common hand, it was easier to shake it, when a moran was singing or jumping, it was very easy to shake this hand and it shook with it. I: So, it was making a sound? R2: It was just shaking. I: Fine, and who were making these ‘erapu’, were they men or women? R3: They were the men, but in addition they wanted to put beads and decorate more, the women were the ones putting the beads because they knew how to decorate using beads, but it was the men who did the carving and made it look good. I: Why were they only using the buffalo? R3: They liked using it because it was hard and unbreakable, it could stay for many years without breaking. On top of that, the morans used shields made of buffalo skin because it was hard; if well dried and prepared, you could hit it with a spear and it wouldn’t penetrate. They believed buffalo skin was much stronger than cow hide or any other animal skin. So, they were using the buffalo horn because it was very strong, unbreakable, and could last for many years.

source: Amani-Stade Project / Massai Field Research 2023 / Interview No. 08
author: I: Mohamed Seif, R1-3: Anonymous

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

"Sunday, December 24, 1905. [underlined, p. 60] [p. 61] [...] In the evening came the [...] [?] which have ethnographic value. Almost all were procured for me by Max. Snuff box made of horn & wood, bought here from a Swahili (1 Rupia). Similar illustration in Baumann. Usambara. 1891. p. 231. / Kiswahili: tabakero is made by Wanjamwezi [drawing with material details] Wood Horn Wood / Combs, 3 pieces similar to those I illustrated in diary TB. 44, p. 68. One comb like the attached illustration & one was recently carved for me by a Njamwezi named [?], it had the following shape [drawing] / Kiswahili: schamo / and was unfinished made from [p. 62] white soft wood, while the others come from one and the same Fundi (craftsman), who specializes in them. These are yellow and smooth. [drawing] / Small and larger carved round spoons with burnt-in designs, shallowly hollowed, the figures vary. [drawings of seven spoons a-g, partly detailed drawings with labels] Kiswahili: kijiko / mwiko / wu bu [?] / a deep spoon: [drawing h] [drawing of a flute with material details] Wooden flute Tin Gourd Pumpkin Wood Kiswahili: nzumari [corrected to zumari] [p. 63] Device for hollowing coconuts. The halved nut is rasped out with a saw-toothed iron [correction], while the man who operates it sits on the apparatus itself. The wooden parts are carved from one piece & foldable. [Two drawings, one showing a detail] Kiswahili: mbuzi (actually = goat) / A bush knife called "munde" in Kiswahili. Most come from Germany, but these have a much slimmer shape. [drawing] Max received two Chinese pictures embroidered on darkest silk to hang on the wall [p. 64]. I had actually [?] bought them, like the other fabric goods, from an Indian in Tanga. Then a transparent thin fiber fabric, perhaps pineapple fiber, with very colorful butterflies embroidered from thick silk threads. A table runner made of silk, Indian work. –" [translation]

source: Museum der Kulturen Basel, VI 56197, 46 (61)
author: Karl Braun

"42. Wooden comb carved from soft wood by a Nyamswezi, shanuo / Amani 24 Dec. 1905 / TB [diary] 46.62 / [drawing] / [with red lettering added] 1 Rp." [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

"Sunday, December 24, 1905. [underlined, p. 60] [p. 61] [...] In the evening came the [...] [?] which have ethnographic value. Almost all were procured for me by Max. Snuff box made of horn & wood, bought here from a Swahili (1 Rupia). Similar illustration in Baumann. Usambara. 1891. p. 231. / Kiswahili: tabakero is made by Wanjamwezi [drawing with material details] Wood Horn Wood / Combs, 3 pieces similar to those I illustrated in diary TB. 44, p. 68. One comb like the attached illustration & one was recently carved for me by a Njamwezi named [?], it had the following shape [drawing] / Kiswahili: schamo / and was unfinished made from [p. 62] white soft wood, while the others come from one and the same Fundi (craftsman), who specializes in them. These are yellow and smooth. [drawing] / Small and larger carved round spoons with burnt-in designs, shallowly hollowed, the figures vary. [drawings of seven spoons a-g, partly detailed drawings with labels] Kiswahili: kijiko / mwiko / wu bu [?] / a deep spoon: [drawing h] [drawing of a flute with material details] Wooden flute Tin Gourd Pumpkin Wood Kiswahili: nzumari [corrected to zumari] [p. 63] Device for hollowing coconuts. The halved nut is rasped out with a saw-toothed iron [correction], while the man who operates it sits on the apparatus itself. The wooden parts are carved from one piece & foldable. [Two drawings, one showing a detail] Kiswahili: mbuzi (actually = goat) / A bush knife called "munde" in Kiswahili. Most come from Germany, but these have a much slimmer shape. [drawing] Max received two Chinese pictures embroidered on darkest silk to hang on the wall [p. 64]. I had actually [?] bought them, like the other fabric goods, from an Indian in Tanga. Then a transparent thin fiber fabric, perhaps pineapple fiber, with very colorful butterflies embroidered from thick silk threads. A table runner made of silk, Indian work. –" [translation]

source: Museum der Kulturen Basel, VI 56197, 46 (61)
author: Karl Braun

"40. Wooden comb, two-sided / Amani 24 Dec. 1905 / TB [diary] 46.61 / kitana / [drawing]" [translation]

source: Museen Stade, r 2018 / 18566
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"

"Thursday, August 19, 1909. Mr. Laming gave me a dog collar of the Washambaa, which they use when they go hunting pigs with dogs. Such a collar carries a large hand-forged bell called gongongo. To make it, old metal items are used — old farming tools, hoes, or iron objects bought from Indian shops. These are hammered out, then a round piece is shaped and bent together. In the middle is a roughly pounded iron ball. The cord by which the bell is fastened to the dog’s neck is made from malamba, that is, the dry leaf sheaths that hang on the outside of banana stems. Additionally, the same gentleman gave me a tobacco pouch of the Washambaa. It is made from the hairless hide of a gazelle (pala). The skin is removed, cleaned, and stuffed with leaves, then dried. Later, it is softened by crumpling in the hands and made supple by rubbing it with oil from the kwenne (Telfairia pedata). (continued in Vol. 54) […](Continuation from Vol. 53) Such a pouch is open at one end, at the other is a strap made of ordinary bison leather. At one free end of the strap is a sliding loop with a brass spiral, which can be pulled over the open end of the pouch. In this way, the pouch is closed and can be slung over the shoulder using the strap." [translation]

source: Museum der Kulturen Basel, VI 56197, 53 (132)
author: Karl Braun

In 1934, the former director of the Biological Imperial Institute for Agriculture and Forestry (Biologische Reichsanstalt für Land- und Forstwirtschaft) Karl Braun (1870–1935) gave the so-called “Kolonialsammlung Braun” (Colonial Collection Braun) to the Hanseatic City of Stade, or rather its representative, the then mayor Hans Arthur Meyer (1884–1961). See the file „Transfer of a colonial collection from the senior government councillor Professor Dr. Karl Braun in Stade to the City of Stade” („Überlassung einer Kolonialsammlung vom Oberregierungsrat Professor Dr. Karl Braun in Stade an die Stadt Stade") at the Lower Saxony State Archives Stade (Niedersächsischen Landesarchiv Standort Stade).

source: Niedersächsisches Landesarchiv Standort Stade, Dep. 10 Nr. 03025

In 1997, the then city archivist Jürgen Bohmbach concludes a permanent loan agreement with the Museum Society Stade (Museumsverein Stade e.V.), for which the then director Gerd Mettjes signs. Thereafter, the collection from Karl Braun is transferred to the care of the Museum Society Stade (Museumsverein Stade e.V.).

source: Museen Stade, Vereinbarung Leihgabe "Brauns'sche Kolonialsammlung"