500 Jahre gewaltsame Kulturkontakte: Karin Harassers „Des Teufels Leibspeise“
Summary
Karin Harasser examines Werner Herzog’s colonial filmmaking practices in her book "Des Teufels Leibspeise," challenging essentialist views of indigeneity. She portrays indigenous groups in South America not as passive victims, but as active agents who creatively appropriated European elements like Baroque music and cocoa currency. Harasser argues that cultural exchange, rather than fixed identity, defines these historical encounters, offering a nuanced perspective on transatlantic power dynamics and resistance.
Topics discussed
Werner Herzog's colonial structures and indigenous resistance
Producer Walter Sachser's criticism of Evaristo Nuguak
Karin Harasser's view on indigeneity and Fitzcarraldo
Overview of the book's structure and metaphors
The concept of 'Verschleungene' and transatlantic stories
Indigenous agency and Jesuit music in Bolivia
Maracajin music and the function of the 'Feind'
Absorbing foreign music to strengthen community
Peter Martyr, cacao money, and global economics
Self-reflexive theoretical approach to European projections
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