This is a guest contribution by Lillian Dam Bracia.
Located in the heart of the city, the ‘Dutch Quarter’ is no bigger than four house blocks. This picturesque neighborhood is home to the largest closed Dutch-style buildings outside the Netherlands. The facades of terraced houses consist entirely of red Dutch brick with white joints. It was built between 1733 and 1742 by Dutch architect, Jan Boumann, under the rule of Prussian King Frederick William I and his son, Frederick II.
Prussia was proud of its friendship with its Dutch counterpart. However, what is dismissed is another and rather dark history of this time. One shouldn’t forget that when the Dutch quarter was being constructed, the Netherlands had built a powerful colonial empire and were participating in the Transatlantic Slave Trade. Although from a first impression one would not expect from these cute houses to retain secrets, the troubling fact is they do. They hold secrets tied to slavery, colonialism and racism… → read more
The rotary of the Oranges is one the largest squares in the Sanssouci Park. The busts represent several Dutch princes and princesses from the House of Orange. Over the years, Dutch and Prussian aristocrats arranged several marriages to cement relations of kinship between them. The large size of this rotary can be interpreted as a sign of respect to those esteemed friends and relatives of Prussia. In the 18th century, Prussia admired the Netherlands for their architecture, their empire and their global trade relations. Taking the rotary of the Oranges as our point of departure, we want to focus on the friendship between the Great Elector Friedrich Wilhelm of Brandenburg and the Dutch. This relationship explains the colonial aspirations of Friedrich Wilhelm who ultimately participated in the transatlantic slave trade and erected a colony on the African coast… → read more
This is an article by Fabienne ImlingerHere, in front of the Sanssouci Palace, we would like to take you to Haiti in the Caribbean, where another Sans-Souci palace was built. It is 1813 in Haiti. In the last years, King Henry I, a fan of architecture, has personally supervised the construction. But his Sans-Souci is more than just a lavish residence for the King. It is a monument for the nation of Haiti, a nation who has just released herself from the shackles of slavery and colonialism. Ten years have passed since the victory over the French and their colonial rule. The independence of Haiti was proclaimed symbolically on 1st January 1804. But since then, none of the European powers have officially recognized the young state… → read more
Next to the Chinese Tea House, you can find the only authentically Asian object in the Sanssouci park: a rather insconpicuous incense urn from Siam, what is today Thailand. This urn was offered as a present to the German Emperor Wilhelm II in 1897 by Siam’s emperor Chulalongkorn. → read more
…This house was built in 1754. It was commissioned by the Prussian King Friedrich II, also called Friedrich the Great. It is now considered as one of the most important monuments of the Chinoiserie, a European artistic fashion of the 18th century. European aristocracy had indeed an admiration for China. They imagined a faraway land ruled by reason and a model for taste, style and culture. But few Europeans had actually visited China or even met Chinese people. Born out of wonder and curiosity for the unknown, these assumptions were repeated in European art, architecture and literature. Friedrich II himself was a fervent admirer of the Chinoiserie fashion. He even wrote several letters and philosophical essays under a Chinese pen name. In building the teahouse, he would erect a temple for his fantasy of an idyllic China. However, nothing here has anything to do with actual Chinese art. It only conveys the imagination of its maker… → read more
Between 1901 and 1919, Chinese astronomical instruments decorated the patio in front of the Orangerie in Potsdam. Germany had to give them back to China as part of the reparations for the First World War. These instruments had been looted by the German military during a period of German colonial occupation in China. This conflict is known in English as the Boxer War or 義和團運動. → read more
Oduor Obura is a Kenyan writer and scholar. He is a PhD candidate at the University of Potsdam. He has written about the construction of African childhood and the colonial history of museums. For Postcolonial Potsdam, he gives us his perspective on the four black figures in the Park Sanssouci and the alleged presence of the “peak of Kilimanjaro” in the New Palace.
Our initiative Postcolonial Potsdam was born in 2014. Back then, some of our members were part of a team organising a conference called “Postcolonial justice”. It took place at the University of Potsdam, 200m away from two statues of Africans. Scholars and authors came from far to address inequalities and discrimination resulting from colonial contexts, past and present. Some had even traveled from Australia to Potsdam. While we learnt about the effects of colonial rule all over the world, we also asked ourselves: are there places here in Potsdam that are traces of colonialism?
In front of the New Palace, facing the Park Sanssouci, there are two statues of Africans holding lamp-posts. These were one of the first discoveries of our team. We asked ourselves: what is their purpose? Did the sculptor use any African as a model for these statues? If yes, did this person live in Potsdam? We were eager to find a hidden story behind those quiet statues… → read more
On 30th November 2019, the members of the working group Postcolonial Potsdam invited experts on colonial history and postcolonial cultures to present different aspects of Potsdam’s colonial heritage. This gathering aimed to produce content for an upcoming mobile app that would guide its users through Potsdam and make them aware of traces of colonial history in the city, especially the Park Sanssouci. This project, a cooperation with the Research Training Group “Minor Cosmopolitanisms” and supported by Junges Engagement Berlin Brandenburg and Altomayo Coffee, draws on five years of experience with guided tours offered by Postcolonial Potsdam…
An Interview with SchwarzRund
Who are you?
I am SchwarzRund. By now, it has become my official pen name. First it was the name of my blog, but now I publish everything, artistic or academic, under that name.
I am a Black Dominican in Germany with both passports and I work in various fields. Storytelling and poetry/performance texts are the heart of my work. But painting, writing and online ranting are very important to me as well – for my activism and for me personally…
Last weekend, the second weekend of December 2016, Potsdam celebrated once again the arrival of the Dutch Sinterklaas and his companions, the Black Petes. The city likes to distinguish itself because of its internationality and supposed worldliness. Potsdam has a Dutch quarter, a couple of streets which look exactly like a little Dutch town with red brick buildings. There is also a Russian quarter with Russian style log cabins and Park Sanssouci features a Chinese looking – according to European imagination – Tea House. The various castles of the Potsdam region host many mostly stolen items from the Global South which were brought to Potsdam by attention seeking white explorers during colonial times and they have been kept since…
W: Ich bin die hier-sprichst-du Wand, der du nach dem Besuch der Ausstellung begegnest. Hier sprichst du…
B1: Addet mich auf Snapchat
W: Was ist das Fremde?
B3: Good question which would have been interesting (if not necessary) to explore in that exhibition
Until 7th November 2016, the Berlinische Galerie featured the special exhibition Dada Afrika – Dialog mit dem Fremden, associating early 20th century artists of the Dada movement with a multitude of non-European artistic and cultural objects that provided artistic inspiration to the Dadaists. In an adjacent room to this exhibition, the Berlinische Galerie has opened up a space for creative engagement with Dada, as well as to encourage visitors to participate in the so-called ‘dialogue’ by expressing their thoughts on the exhibition with post-its on the “Hier-sprichst-du” wall. At the time of my visit, around 60% of the messages could be summed up in “DaDa”, dAdA” or “DAda ist cOOl”. The evident aim of the wall was however to reflect on concepts that, though not addressed by the exhibition, yet remained central to the exhibition of African, Oceanian or North American indigenous artworks, such as the “other” or German colonialism. The gap between the purpose of the wall and the response of visitors is telling…
In December 2015, T-Werk in Potsdam hosted a panel discussion which set out to provide background information on the connection between racism and the German and Dutch use of the tradition of blackface. This event was a reaction to the highly emotional debates in Potsdam around the well-loved Sinterklaas celebration and especially the traditional performance of Zwarte Piet. Fortunately, the city of Potsdam has decided to deny any financial support of the event in case it continues to include the racist practice of blackfacing the Zwarte Pieten characters. Potsdam has thus declared itself against a perpetuation of colonial traditions. The Förderverein zur Pflege niederländischer Kultur in Potsdam e. V. (organization for the maintenance of Dutch culture) and a number of local people, however, cannot comprehend the city’s decision and lament the disappearance of the clownesque servant in black paint who has, so far, always been part of the celebration. By them, Zwarte Piet is understood as a crucial part of the Dutch tradition and seen as an unchangeable and necessary constant…