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Regula Tschumi is a Swiss social anthropologist and art historian.

Bibliography

Regula Tschumi has spent time in East, West and South Africa, researching into contemporary African art.^[1] In 2006 she published a standard work on the figurative coffins of the Ga people.^[2] In this book she traces the origins of these coffins in the art and religion of the Ga, and questions the history of their evolution. In the course of this research Regula Tschumi discovered the coffin-artist and art brut painter Ataa Oko, born 1919, from La, in Ghana. Ataa Oko was making figurative coffins as long ago as 1945, that is to say, according to her, before Kane Kwei, who was generally recognised outside Ghana as having invented these coffins for the burial rituals of the Ga.^[3] In her PhD thesis 2013 Regula Tschumi makes the first deep research about the formerly unknown figurative palanquins of the Ga. She shows how the figurative palanquins are related with the figurative coffins, and why the figurative palanquins were used in Accra as early as 1930. She discovered that differently from what many Ga believe, no chief has ever been buried in his figurative palanquin. Palanquins belong to the powerful royal insignias which in the Ga culture may never be buried. Therefore kings were never buried in their palanquin, but in a coffin that looked the same like the palanquin. This was necessary because the Ga believe that enstoolments and funerals are complementary.^[4]

Regula Tschumi has taken part in various exhibition projects in leading museums,^[5] when she worked with different ghanaian artists and coffin-palanquin-makers like Paa Joe, Ataa Oko and Kudjoe Affutu among others.

Publications

2013 The Figurative Palanquins of the Ga. History and Significance, in: African Arts, vol. 46, 4, 2013, pp. 60-73.
2013 Die figürlichen Sänften und Särge der Ga im Süden Ghanas. Geschichte, Transformation und Sinn einer künstlerischen Ausdrucksform von den Anfängen bis in die Gegenwart, PhD theses, phil.-hist. univ. Basel.
2010 The Deathbead of a Living Man. A Coffin for the Centre Pompidou, in: Saâdane Afif (ed.), Anthologie de l'humour noir, Paris: Editions Centre Pompidou, pp. 56-61.
2010 Ataa Oko et le langage formel des Ga in: Collection de l'art brut (ed.), Ataa Oko. Exhibition catalogue. Lausanne, Gollion: lnfolio.
2008 The Buried Treasures of the Ga: Coffin Art in Ghana. Benteli, Bern. ISBN 978-3-7165-1520-4.
2006 Last Respects, First Honoured. Ghanaian Burial Rituals and Figural Coffins in: Kunstmuseum Bern (ed.), Six Feet Under. Autopsy of Our Relation to the Dead. Ex.-Cat. Bielefeld, Leipzig: Kerber, pp. 114-125.

External links

www.regulatschumi.ch

Gallery

White chicken coffin made by Kudjoe Affutu (2008)
Ataa Oko and Kudjo Affutu with Oko's red rooster coffin for Regula Tschumi (2009)
The „Pompidou coffin“ made by Kudjoe Affutu in collaboration with Regula Tschumi for the exhibition „Anthologie de l'humour noir“ of Saâdane Afif in the Centre Pompidou in Paris (2010)
Paa Joe with his sandals coffin made for the Kunstmuseum Bern (2006)
Figurative palanquin, drawing of Ataa Oko for Regula Tschumi (2010)

References

^ With a keener eye. 2003. Kay Hassan in Johannesburg by Regula Tschumi in: Kunsthalle Bern (ed.), Kay Hassan. exhibition-cat. Bern.
^ The Buried Treasures of the Ga: Coffin Art in Ghana. Benteli, Bern 2008. German Die vergrabenen Schätze der Ga. Sarg-Kunst aus Ghana. 2006. French: Les trésors enterrés des Ga. L’art des cercueils au Ghana. 2011.
^ Roberta Bonetti, Alternate Histories of the Abebuu Adekai, African Arts, autumn 2010, p. 14-33: Roberta Bonetti reached the same conclusion as Regula Tschumi. She actually considers the well-known stories about the origin of the figure-coffins to have been invented: „[...] We have seen how the same criteria of authenticity that were fundamental in documenting the uniqueness and truthfulness of ancient works have been adopted for recent coffins. The proof is provided by the presumed origin of the work, which has become even more precious and exceptional ever since the death of its „invented“ inventor, Kane Kwei“.
^ Regula Tschumi, The Figurative Palanquins of the Ga. History and Significance, in: African Arts, vol. 46 (4), 2013, p. 60-73.
^ Musée d'Ethnographie Neuchâtel, Centre Pompidou Paris, Kunstmusuem Bern, Deutsches Hygienemuseum Dresden, Nouveau Musée National de Monaco, British Museum London, Museum Jean Tinguely Basel, Collection de L’Art Brut Lausanne

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[1] With a keener eye. 2003. Kay Hassan in Johannesburg by Regula Tschumi in: Kunsthalle Bern (ed.), Kay Hassan. exhibition-cat. Bern.

[2] The Buried Treasures of the Ga: Coffin Art in Ghana. Benteli, Bern 2008. German Die vergrabenen Schätze der Ga. Sarg-Kunst aus Ghana. 2006. French: Les trésors enterrés des Ga. L’art des cercueils au Ghana. 2011.

[3] Roberta Bonetti, Alternate Histories of the Abebuu Adekai, African Arts, autumn 2010, p. 14-33: Roberta Bonetti reached the same conclusion as Regula Tschumi. She actually considers the well-known stories about the origin of the figure-coffins to have been invented: „[...] We have seen how the same criteria of authenticity that were fundamental in documenting the uniqueness and truthfulness of ancient works have been adopted for recent coffins. The proof is provided by the presumed origin of the work, which has become even more precious and exceptional ever since the death of its „invented“ inventor, Kane Kwei“.

[4] Regula Tschumi, The Figurative Palanquins of the Ga. History and Significance, in: African Arts, vol. 46 (4), 2013, p. 60-73.

[5] Musée d'Ethnographie Neuchâtel, Centre Pompidou Paris, Kunstmusuem Bern, Deutsches Hygienemuseum Dresden, Nouveau Musée National de Monaco, British Museum London, Museum Jean Tinguely Basel, Collection de L’Art Brut Lausanne

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 == Bibliography ==
 Regula Tschumi has spent time in East, West and South Africa, researching into [[contemporary African art]].<ref>''With a keener eye''. 2003. Kay Hassan in Johannesburg by Regula Tschumi in: Kunsthalle Bern (ed.), Kay Hassan. exhibition-cat. Bern.</ref> In 2006 she published a standard work on the [[fantasy coffin|figurative coffins]] of the [[Ga people]].<ref>''The Buried Treasures of the Ga: Coffin Art in Ghana''. Benteli, Bern 2008. German ''Die vergrabenen Schätze der Ga. Sarg-Kunst aus Ghana''. 2006. French: ''Les trésors enterrés des Ga. L’art des cercueils au Ghana''. 2011.</ref>  In this book she traces the origins of these coffins in the art and religion of the Ga, and questions the history of their evolution. In the course of this research Regula Tschumi discovered the coffin-artist and [[art brut]] painter [[Ataa Oko]], born 1919, from La, in Ghana. Ataa Oko was making figurative coffins as long ago as 1945, that is to say, according to her, before [[Kane Kwei Carpentry Workshop|Kane Kwei]], who was generally recognised outside Ghana as having invented these coffins for the burial rituals of the Ga.<ref>Roberta Bonetti, ''Alternate Histories of the Abebuu Adeka''i, African Arts, autumn 2010, p. 14-33: Roberta Bonetti reached the same conclusion as Regula Tschumi. She actually considers the well-known stories about the origin of the figure-coffins to have been invented: „[...] We have seen how the same criteria of authenticity that were fundamental in documenting the uniqueness and truthfulness of ancient works have been adopted for recent coffins. The proof is provided by the presumed origin of the work, which has become even more precious and exceptional ever since the death of its „invented“ inventor, Kane Kwei“.</ref> In her PhD thesis 2013 Regula Tschumi makes the first deep research about the formerly unknown figurative palanquins of the Ga. She shows how the [[Figurative Palanquin in Ghana|figurative palanquins]] are related with the figurative coffins, and why the figurative palanquins were used in Accra as early as 1930. She discovered that differently from what many Ga believe, no chief has ever been buried in his figurative palanquin. Palanquins belong to the powerful royal insignias which in the Ga culture may never be buried. Therefore kings were never buried in their palanquin, but in a coffin that looked the same like the palanquin. This was necessary because the Ga believe that enstoolments and funerals are complementary.<ref>Regula Tschumi, ''The Figurative Palanquins of the Ga. History and Significance'', in: [[African Arts]], vol. 46 (4), 2013, p. 60-73.</ref>
@@ Line 7: / Line 8: @@
 == Publications ==
-*2013.''The Figurative Palanquins of the Ga. History and Significance'', in: [[African Arts]], vol. 46, 4, 2013, pp. 60-73.
+*2013 ''The Figurative Palanquins of the Ga. History and Significance'', in: [[African Arts]], vol. 46, 4, 2013, pp. 60-73.
-*2013. ''Die figürlichen Sänften und Särge der Ga im Süden Ghanas. Geschichte, Transformation und Sinn einer künstlerischen Ausdrucksform von den Anfängen bis in die Gegenwart'', PhD theses, phil.-hist. univ. Basel.
+*2013 ''Die figürlichen Sänften und Särge der Ga im Süden Ghanas. Geschichte, Transformation und Sinn einer künstlerischen Ausdrucksform von den Anfängen bis in die Gegenwart'', PhD theses, phil.-hist. univ. Basel.
-*2010.  ''The Deathbead of a Living Man. A Coffin for the Centre Pompidou'', in: Saâdane Afif (ed.), ''Anthologie de l'humour noir'', Paris: Editions Centre Pompidou, pp. 56-61.
+*2010 ''The Deathbead of a Living Man. A Coffin for the Centre Pompidou'', in: Saâdane Afif (ed.), ''Anthologie de l'humour noir'', Paris: Editions Centre Pompidou, pp. 56-61.
-*2010. ''Ataa Oko et le langage formel des Ga'' in: [[Collection de l'art brut]] (ed.), [[Ataa Oko]]. Exhibition catalogue. Lausanne, Gollion: lnfolio.
+*2010 ''Ataa Oko et le langage formel des Ga'' in: [[Collection de l'art brut]] (ed.), [[Ataa Oko]]. Exhibition catalogue. Lausanne, Gollion: lnfolio.
-*2008. ''The Buried Treasures of the Ga: Coffin Art in Ghana.'' Benteli, Bern. ISBN 978-3-7165-1520-4.
+*2008 ''The Buried Treasures of the Ga: Coffin Art in Ghana.'' Benteli, Bern. ISBN 978-3-7165-1520-4.
 *2006 ''Last Respects, First Honoured. Ghanaian Burial Rituals and Figural Coffins'' in: Kunstmuseum Bern (ed.), ''Six Feet Under''. Autopsy of Our Relation to the Dead. Ex.-Cat. Bielefeld, Leipzig: Kerber, pp. 114-125.