Todo Concostrina: Acontece que no es poco | Los museos se redefinen: no a la exhibición de restos humanos
Cadena SER 9/18/23 - Episode Page - 19m - PDF Transcript
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Today we'll see each other again.
Fantastic, thank you very much.
Let's open the week of our particular trip to the history with one of the museums.
Do you think so?
Well, it has to do with the museums, because the place where or what happened or what happened
is in the museums, but it also has to do with dignity, racism, diplomacy, and politics.
It has to do with many things, although we could summarize it by saying that the museums
redefine themselves or rethink themselves by saying no to the exhibition of human remains.
That's right. And look, you gave me the idea yourself.
Listen, because you talked a little more than a week ago in the dark red section, almost black,
with Patrick. With the foreign archaeologist.
Exactly, with Nicolas Márquez.
Yes, and among other things you touched on the issue of the exhibition of human remains in museums.
I was listening to him and the truth is that this is increasingly worse seen and more and more museums
remove them, remove the remains of the exposition.
In other words, the claims of countries that demand the devolution of skulls or skeletons
or the skin of people dried up, naturalized, it is said more finely because when it is of people
it is said naturalized, yes, it is a naturalized, yes, when it is a person, it is a beautiful euphemism
that human tassidermists use, but the case is that the black of bañolas was dried up,
it was dried up, but they call it naturalized, yes, but hey, they dried up in the name of a
false scientific interest, behind it, in reality, there was only dirt. With this topic we could start
and end and I think that many would be surprised by the amount of cases and the amount of diplomatic
conflicts that have been given to account for the claim of human remains that were exhibited,
that are still exhibited in museums or that were scattered in the almacenes, that this is another,
they leave them there, well, I don't exhibit them anymore, but they are there, you have to differentiate
also what is to be exhibited archaeological remains from the remains that have no scientific
interest, not archaeological or anything, not anthropological, that were only exhibited
because they were people of other races or of other cultures, that first those people were taken
to the strength of their places of origin to be exhibited in the human zoos and in the
fair shows and after they died they continued to be exhibited without their consent, but there are also
cases that we bring from everything, cases of those who gave their body to science because if there was
a scientific interest or to whom their relatives gave it and authorized its exhibition after
death and that, among these things, that happened here in Spain.
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Oye niebes,
ahora iremos al caso a concreto pero es que me quedo dando vueltas antes cuando dices que
ha habido muchos casos que han provocado incluso conflictos diplomáticos, hablamos de decenas de
casos de cientos de miles, hablamos de decenas de conflictos pero de miles de restos, miles
y miles de restos. Aquí el más conocido es, os he mencionado el del negro de bañoles,
que España tuvo que entregar a Botswana pero también hubo una gran bronca con Francia cuando
Sudáfrica exigió la entrega de una mujer que llamaban la venus otentote, también devolvió
Francia cuatro guerreros charruas a Uruguay, Noruega devolvió, que fue cuando estuviste
hablando, devolvió a Julia Pastrana, California devuelto restos de 18.000 indios nativos,
Francia también ha devuelto las cabezas de 16 guerreros maoríes a Nueva Zelanda,
Suecia, como veis si no se libra nadie, Suecia devuelto 18 cráneos de aborígenes australianos,
Gran Bretaña 17 esqueletos de nativos de Tasmania, pero la inversa no, no hay cráneos de blancos
europeos, los nativos no coleccionan blancos, son mucho más civilizados, son mucho más civilizados,
toda esta colección de restos humanos se consideraban bien esculturales por los museos,
pero no había nada científico en reunir 18 cráneos maoríes, distinto fue el caso por
ejemplo de Joseph Merrick, el hombre elefante, un extraordinario caso del síndrome de Proteus,
que él donó su esqueleto para el estudio, los órganos se perdieron durante los bombardeos
a Londres en la Segunda Guerra Mundial, pero los moldes de esos órganos se conservan,
y el esqueleto también, pero no están expuestos al morbo del público, lo conserva el Hospital
General de Londres y todavía llegan peticiones para tomar muestra, para estudiarlo, pero bueno,
para verlo, para ver estos restos hay que pasar muchos trámites, porque sólo se autoriza a
especialistas. Y el caso español que has comentado, el que tuvo permisos autorizaciones y tal,
¿dónde estaba? ¿Hay que hablar en Pretérito o todavía en presente?
Pues ya vamos a hablar en Pretérito, pero desde hace muy poquito. ¿Dónde estaba?
Porque hace unos meses que ya no está, desde que el Museo Nacional de Antropología ha decidido
redefinir su misión, han retirado el esqueleto del famoso gigante extremeño, que no tenía
mayor interés científico para su exposición, salvo que era un señor muy alto, muy alto,
como si te llevara Saiturriaga en esqueleto. La historia de su exposición es eso,
bueno, pues viene desde el siglo XIX, ¿no? Y se conocía la historia de este hombre,
la historia del gigante, yo la conocía porque tiene relación con otros dos tipos muy altos de la
misma época, que de uno de ellos incluso se hizo una película Andía, que se llevó diez de los
trece premios Goya, a los que estaba nominada. Andía significa grande en Euskera, pero de la
retirada del esqueleto del gigante extremeño del Museo Nacional de Antropología, me enteré
por un reportaje de Pello H. Riaño en el diario punto es interesantísimo, que habló con el director
del museo, con Fernando Sait, y este hombre, el director, le contó que esa redefinición del
museo ha pasado por desmontar lo que se llamaba la sala de los orígenes, todos los restos que había
todos han ido a los almacenes. O sea, así que no tenían interés. No tenían interés, nada, es que
eran restos sin interés, no tenían contexto, no tenían orden ni concierto, eran cráneos puestos
ahí al tuntún, un cráneo, otro cráneo, otro cráneo. Es que el museo tiene 4.426 restos humanos
inventariados, que ya se dice, y el gigante extremeño era uno de ellos. Este hombre,
el que llevó el esqueleto puesto en su momento, se llamaba Agustín Lüengo Capilla, era de Puebla
de Alcocer, de Badajoz, medía 2 metros 32, vivió sólo 26 años, y su historia está ligada precisamente
a un famosísimo doctor, que tiene una historia muy, muy truculenta detrás, y que fue el que fundó
lo que ahora es el Museo Nacional de Antropología. Y además ese museo está en el mismo palacete,
que era la residencia del doctor.
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A young man of 26 years, a native town of Alcocer, Badajoz province, named Agustín Lüengo Capilla,
who has reached 200-300-mm height. In the period, he actually said 800-mm, which was a mistake
because it would have been almost 3 meters, but well, it was 300-mm. And that peculiar human being
wanted it for him, Dr. Velasco. It is known that Agustín Lüengo arrived in Madrid very touched,
very sick, who came with his mother. You see, he went to visit the king so that the king would see
him today. Look, how curious, how tall he is. His health was breaking for a moment and it is also
known that on December 31, 1875, Agustín Lüengo died in a humble suspension of the Toledo street in
Madrid, without resources, attended by a doctor of the beneficence. It is likely that Dr. Velasco is
not known to pay something to his mother to give him the body, because the next thing was that
Agustín Lüengo finished the museum. Velasco made a detailed autopsy, he specified everything very well,
saying that he presented a general weakness of the body due to a life of poverty and suffering,
and insisted that the study, this is very curious, insisted a lot on the doctor who did it with the
approval of his mother, who has manifested his desire to serve for anatomical studies and
with the approval of the authorities as well. The approval, I do not doubt it, because I do not
think it is to rob the body, but the fact that it was the desire of his mother, because in any case,
this doctor solved the problem that the mother had on top of her, with her son dead in Madrid.
That is undoubtable, because it is very likely that it would happen. It was not the desire of the mother,
but to see what she did. We have to imagine it. In 1875, the doctor, in reality, removed the
dead on top of the woman, two meters thirty dead, without money, also having to accept a
burial of charity, and on top of that, as I say, they were in Madrid, what did that woman do? Well,
she was probably going to grab the hard ones that the doctor gave her, if she gave her something, and go back
to the town of Alcocer. They were other times, they were very hard times. The doctor Velasco made a
body mold, he dressed it later with his own skin, and the skeleton was perfectly clean and placed
in a glass. Augustin then immediately became the star of the National Museum of Anthropology,
and there it has been, until nothing, until the museum has decided that it is not a cultural good.
Augustin only represents the remains of a deceased person. Of course, in this issue of the human remains
in the museums of anthropology and archaeology as well, the complicated thing is to differentiate
what is an archaeological remains, a mummy, for example, from a remains that one can consider
anthropological, but that in the end they are only human remains, that is, some skulls,
some skulls, I do not know, I do not know either. No, no, no, imagine, you do not know me either,
but they do not have it resolved, nor do they understand it, that is why there is so much
nonsense around the claimation and the devolution of remains, although the one who does not want to
return the remains, and sometimes they deny it, they do not show it, but they deny returning it,
but they hide it in the remains. Look, until the year 2002, a museum in the center of France,
in Montresson, had put a catalan and it was dry. It was a guy who was captured during the
Napoleonic Wars, then he died in the museum and he already decided to stay there, but I will tell you
that anthropological interest has a catalan and it is dry, it does not have any light, no, no, no, but
what interest it has was a human, but for example, the National Museum of Anthropology
maintains, in exhibition, a reduced head, it is different because it is one of the natives
of the Amazon, but it is not because it is a head of a man, but because it is an anthropological example
of a warrior rite. Of course, of course, let's see, be careful that in that area they were hunting heads and
reducing them, it is also 1960, I do not tell you that I do not have to resume some customs to
stop the tourism of myself. Another day, another day, the other two giants are going to fall,
who were very famous, those who were in Spain in the 19th century, Fermina Rudi,
Aragonese from Sayende Gallego, who was in the middle of 229, and the Proto de la Peliandía, Miguel
Joaquín, Licegui, who from 242 that these were taken care of very much, that no museum would place them
in any showcase and they took care of disappearing.
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Machine-generated transcript that may contain inaccuracies.
Nieves Concostrina cuenta la historia que hay detrás de la exihibición de restos humanos en museos y habla de cómo llegaron a su fin. Además, conocemos la historia del español Agustín Luengo Capilla, apodado como el gigante extremeño, cuyos restos fueron expuestos.
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