A Guide To Africa's 'Looted Treasures'

A Guide to Africa's 'Looted Treasures': A Call for Restitution

The Benin Bronzes: A Regal Legacy

Among the most recognizable casualties of colonial plunder are the Benin Bronzes, a collection of intricate brass sculptures and plaques hailing from the Kingdom of Benin in present-day Nigeria. These artefacts symbolize the artistic prowess of the Edo people and adorned the royal palace of Oba Ovonramwen Nogbaisi until the British punitive expedition of 1897. This expedition was launched in retaliation for the killing of British diplomats, leading to widespread looting where not only bronze sculptures but also countless royal objects were seized.

Today, major museums, including the British Museum, house many of these treasures, reportedly acquired through gifts and colonial agreements. The recent decision by several European museums to loan significant portions of the Benin Bronzes back to Nigeria signals a shift in the narrative surrounding these artifacts. The opening of the new Royal Museum in Benin City, projected for 2021, marks an important step in the restitution process.

The Man-Eaters of Tsavo: A Tale of Fear and Survival

Another poignant example of looted treasures involves the infamous Man-eaters of Tsavo, two lions that terrorized railway workers in Kenya during the construction of the Kenya-Uganda Railway in the late 1890s. These lions, shot by Lieutenant Colonel John Patterson, were later stuffed and sold to the Field Museum of Natural History in Chicago, where they remain a part of its permanent collection. The deaths associated with these maneaters have been shrouded in controversy, with differing reports on the exact number of lives claimed. The Kenya National Museum now advocates for the return of these iconic specimens, emphasizing their cultural importance and connection to Kenya’s colonial history.

The Rosetta Stone: A Key to Ancient Egypt

The Rosetta Stone, housed in the British Museum, stands as a testament to the complexities of colonial acquisition. Discovered during Napoleon Bonaparte’s Egyptian campaign in 1799, it played a crucial role in deciphering Egyptian hieroglyphs. The British acquired the stone in 1801 following their defeat of the French, and it has since become a centerpiece of British Museum collections. Its return has been a subject of debate among Egyptologists and historians, as it represents not only linguistic significance but also the imperial history entwined with its possession.

The Bangwa Queen: Art and Identity

The wooden sculpture known as the Bangwa Queen from Cameroon holds immense cultural and spiritual significance. Crafted around 1899, it represents the power of royal lineage among the Bangwa people. However, this regal artifact ended up in the Museum für Völkerkunde in Berlin, where it was later purchased by an art collector. Following its sale for a staggering price at a Sotheby’s auction, the sculpture’s ownership has been contested. The traditional leaders of the Bangwa community have been formally requesting the sculpture’s return, highlighting the ongoing impact of colonial legacies on modern-day cultural identity and heritage.

The Maqdala Treasures: Ethiopian Heritage

The Maqdala treasures, which include a gold crown and royal wedding dress, were taken by the British Army during an 1868 raid in Ethiopia, known then as Abyssinia. This raid, aimed at rescuing a detained British consul, showcased the extent of colonial aggression. The treasures hold not just historical value but also religious significance for the Ethiopian Orthodox Church. Scholars have long urged for their return, and in a recent gesture, the Victoria and Albert Museum has agreed to return these items on loan, symbolizing a slowly growing recognition of moral responsibility in handling colonial artifacts.

The Zimbabwe Birds: National Symbols

The Zimbabwe Birds, sculptures of fish eagles crafted from soapstone, are revered as national emblems of Zimbabwe. Looted from the ruins of the ancient city of Great Zimbabwe, these artefacts have largely been scattered around various collections globally. While several have returned to Zimbabwe, the legacy of their removal continues to resonate with calls for further restitution. The context surrounding their acquisition highlights colonial narratives interwoven with issues of belonging and identity, as well as the broader questions regarding ownership and control over cultural heritage.

France’s Legislative Actions

In a groundbreaking move, France has initiated efforts to return thousands of African artefacts housed in its museums. A report commissioned by President Emmanuel Macron recommended amendments to French law to facilitate the repatriation of art to Africa. This report, authored by Senegalese writer and economist Felwine Sarr and French historian Bénédicte Savoy, emphasizes the importance of restoring cultural heritage to enable a richer understanding of identities across the African continent.

France’s Legislative Actions

The Ethical Imperative: Navigating Restitution

The question of how to address the legacy of colonial plunder has generated diverse perspectives. Advocates for restitution argue that returning these treasures not only acknowledges historical injustices but also fosters cultural healing and reconciliation. They highlight that many African nations are eager to reintegrate these artefacts into their heritage narratives, thus enriching local culture and tourism. However, opponents often cite concerns about the preservation and security of the items once returned.

Furthermore, the dialogue surrounding cultural artefact restitution is as much about restoring identity as it is about addressing past grievances. The ownership of these treasures encapsulates a larger struggle over cultural narratives, representation, and healing from historical traumas. As European museums increasingly engage in conversations surrounding return, they must navigate the complexities of ownership, care, and representation.

A Future of Collaboration

The path toward restitution of Africa’s looted treasures is fraught with challenges yet presents an opportunity for collaborative engagement. As African governments, cultural institutions, and communities voice their claims, the onus is on former colonial powers to respond with responsibility and sensitivity. The shifting landscape of global cultural discourse signals an evolving understanding of the roles that museums play in representing history — not only as custodians of art but also as facilitators of cultural dialogue and reparative justice.

In conclusion, the movement towards the restitution of Africa’s ‘looted treasures’ reflects a broader desire among nations to reclaim and redefine their cultural heritages. While the complexities may be manifold, the moral clarity of returning these artefacts lies in recognizing their intrinsic value to the cultures they represent and the histories they narrate. As restitution efforts gain momentum, they offer the promise of not only returning treasures but also healing the wounds left by a divisive colonial past. The story of Africa’s looted treasures is not just about art; it is a journey toward reclaiming identity, dignity, and shared humanity.