The Museumization of African Art: The Need for Repatriation
By Alexis Logan
The theme of this summer’s newsletter is “Art and Heritage: Reimagining Cultural Preservation.” In order to imagine the future of what cultural preservation holds for people of the diaspora, we must understand the failings of past and present systems. First, it is necessary to acknowledge that a large part of the cultural preservation industry has been built on a foundation of colonialism and theft. Experts estimate that approximately 90% of African artifacts are kept in European museums. The Benin Bronzes are the most well-known example of stolen African art. Still, the relevance of these pieces cannot be allowed to diminish the thousands of other pieces of African art in European and American collections. This art has been ripped from its place of origin, taken thousands of miles away, and removed from its historical context, leaving it largely inaccessible to the ancestors of those who created it.
From the 1960s to the 1980s, there was an international movement to return African artifacts to their places of origin. Not surprisingly, this effort coincided with the decolonization of the African continent. Although highly publicized throughout this era, few artifacts were repatriated and the issue’s relevance faded as the world turned its attention to other concerns.
One of the significant arguments for non-African museums possessing pieces of African art is to ensure their preservation. The leaders of these institutions claim, whether outright or inadvertently, that African countries cannot be trusted to preserve these art pieces. This argument is flawed and ignores the hundreds of years that African people safeguarded their own artworks. Moreover, let us not forget that theft from their places of origin solely drives the reason these African treasures need to be preserved. When European and American museums claim that they are the only people who can properly preserve these pieces, they perpetuate biases about the capabilities of African countries and imply that western countries are more capable.
Another argument those opposed to repatriating African artifacts use is that European museums allow the world to appreciate these works of art. Yet, this view of the “world” is rooted in its prioritization of whiteness and Eurocentricity. These institutions fly the flag of multiculturalism brazenly, yet by doing so, they harm the cultures they are trying to highlight.
As the Black Lives Matter movement gained momentum in 2020, the campaign to return African art pieces to their places of origin also saw a resurgence. Countries and museums alike are hearing the outcries from African nations resulting in some stolen artifacts being returned. Nigeria, for example, plans to open the Edo Museum of West African Art in Benin City to house many of its returning treasures. The importance of repatriating these artifacts cannot be understated. We cannot allow this movement to be swept under the rug like it was in the 1980s. It is crucial that we emphasize the importance of repatriation and amplify the voices of African people.
Yet, the return of these pieces of art must be accompanied by an acknowledgment of their past and the abuse that people across the African continent faced at the hands of European colonizers. Formal apologies, while necessary, are not sufficient. African people have so often throughout history been stripped of liberty. The return of cultural artifacts allows African museums, curators, politicians, scholars, and the public to have the agency to decide what to do with their art.
African people should not have to travel thousands of miles to be able to view their own past. The culture and soul of a people can be seen through their creation of and interaction with art. To interact with the art of one’s ancestors is to see through their eyes. It is to feel what they felt. To believe what they believed. And to love what they loved. The opportunity for this experience is taken away from African people when they do not have access to their precious histories.
Further Readings:
https://www.nytimes.com/2019/01/03/arts/design/african-art-france-museums-restitution.html
https://www.newyorker.com/books/under-review/the-forgotten-movement-to-reclaim-africas-stolen-art
https://qz.com/africa/1758619/europes-museums-are-fighting-to-keep-africas-stolen-artifacts/