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Africa's looted art | DW Documentary

DW Documentary・22 minutes read

The destruction and looting of cultural heritage fundamentally harm societal identity, with strong calls for the repatriation of artifacts taken through colonial violence, as illustrated by Prince Kum’a Ndumbe the Third's advocacy for the return of the seized Tangué. The ongoing efforts by groups like the Benin Dialogue Group and the ethical dilemmas faced by museums highlight the necessity for restitution and reconciliation to address the historical injustices faced by communities impacted by cultural erasure.

Insights

  • The destruction of cultural heritage through acts like looting not only robs communities of their physical artifacts but also erases their identity, as highlighted by the speaker's assertion that taking cultural artifacts equates to stealing a people's soul, emphasizing the deep emotional and historical significance these items hold for their communities.
  • The ongoing debate over the repatriation of African artifacts, such as the Tangué and the Benin Bronzes, reveals complex issues of ownership, historical injustices, and the need for ethical dialogue about colonial legacies, with advocates like Professor Prince Kum'a Ndumbe the Third pushing for the return of cultural items to restore identity and justice, while also navigating the logistical challenges posed by museum policies and internal family disputes.

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Recent questions

  • What is cultural heritage?

    Cultural heritage refers to the legacy of physical artifacts and intangible attributes of a group or society inherited from past generations. It encompasses traditions, monuments, objects, and practices that are significant to a community's identity and history. The preservation of cultural heritage is crucial as it helps maintain a sense of belonging and continuity for future generations. When cultural heritage is threatened by looting or destruction, it can lead to a profound loss of identity and history for the affected community, as these artifacts often embody the collective memory and values of a society. The importance of cultural heritage is underscored by the ongoing debates surrounding the repatriation of artifacts taken during colonial times, highlighting the need for justice and reconciliation in addressing historical grievances.

  • How can I preserve my family history?

    Preserving family history involves documenting and safeguarding the stories, artifacts, and traditions that define your family's identity. Start by gathering photographs, letters, and heirlooms that hold significance, and consider creating a family tree to trace your lineage. Conduct interviews with older family members to capture their memories and experiences, which can provide invaluable insights into your family's past. Digital tools can also be utilized to create a family archive, ensuring that these records are protected and easily accessible. Additionally, sharing your family's history with younger generations fosters a sense of connection and belonging, allowing them to appreciate their heritage. Engaging in community events or cultural festivals can further enrich your family's narrative, linking it to broader cultural traditions and histories.

  • What are the benefits of cultural festivals?

    Cultural festivals offer numerous benefits, serving as vibrant celebrations of heritage and community. They provide a platform for individuals to express their cultural identity through music, dance, art, and food, fostering a sense of pride and belonging. These events also promote social cohesion by bringing together diverse groups, encouraging dialogue and understanding among different cultures. Additionally, cultural festivals can boost local economies by attracting tourism, creating job opportunities, and supporting local artisans and businesses. They play a crucial role in preserving traditions and educating younger generations about their cultural roots, ensuring that these practices continue to thrive. Overall, cultural festivals enrich communities by celebrating diversity and promoting cultural exchange.

  • What is the significance of art in culture?

    Art holds immense significance in culture as it serves as a reflection of societal values, beliefs, and experiences. It acts as a medium for communication, allowing individuals to express emotions, tell stories, and convey messages that resonate with their community. Through various forms such as painting, sculpture, music, and dance, art captures the essence of cultural identity and heritage, preserving it for future generations. Additionally, art fosters creativity and innovation, encouraging individuals to explore new ideas and perspectives. It can also play a role in social change, raising awareness about important issues and inspiring action. Ultimately, art enriches cultural life, providing a shared experience that unites people and enhances their understanding of the world around them.

  • Why is repatriation of artifacts important?

    The repatriation of artifacts is crucial for addressing historical injustices and restoring cultural heritage to its rightful owners. Many artifacts were taken during colonial periods under violent or exploitative circumstances, stripping communities of their identity and history. Returning these items acknowledges the wrongs of the past and promotes healing and reconciliation between former colonial powers and affected communities. Repatriation also allows for the preservation of cultural practices and traditions, as these artifacts often hold significant meaning and are integral to a community's identity. Furthermore, it fosters a sense of justice and respect for cultural rights, empowering communities to reclaim their heritage and engage with their history actively. The ongoing discussions about repatriation highlight the need for ethical considerations in the stewardship of cultural artifacts and the responsibilities of museums and institutions in addressing colonial legacies.

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Summary

00:00

Cultural Heritage Loss and Repatriation Debate

  • The destruction of cultural heritage through looting and massacres has profound effects on a society, stripping it of its identity and leaving a void that cannot be filled, as emphasized by the speaker's assertion that robbing a people of their cultural artifacts equates to stealing their soul.
  • The Ngondo Water Festival in Douala, Cameroon, features a canoe race that is a traditional event for influential families, with preparations including the placement of the Tangué, a carved wooden figurehead that is crucial for determining the race's outcome, traditionally done on the eve of the event.
  • The Tangué is not merely decorative; it is considered a magical object that embodies the forces of the river, and its significance is underscored by the historical context of colonial looting, where similar artifacts were taken by German powers in the 19th century.
  • The debate surrounding the repatriation of African art is urgent, with calls for the return of artifacts taken under unsavory conditions, as there is no justification for retaining items obtained through violence and cultural erasure.
  • Historical context reveals that in 1884, the Douala kings signed a treaty with German representatives, leading to violent military actions against those who opposed colonial rule, including the attack on Lock Priso's village, resulting in at least 25 deaths and the looting of cultural artifacts.
  • The Tangué taken from Lock Priso's home was later donated to the Royal Ethnographic Collection in Munich, and Professor Prince Kum'a Ndumbe the Third has been advocating for its return, claiming rightful ownership as his grandfather's heir.
  • In Benin City, Nigeria, the Guild of Benin Bronze Casters continues the traditional craft of bronze casting using the lost wax process, a method that has been passed down through generations, with artists relying on historical references and catalogues to create unique works.
  • The British punitive expedition in 1897 led to the looting of thousands of artifacts from the Kingdom of Benin, with little repatriation occurring since, despite formal requests for restitution, highlighting the ongoing struggle for cultural heritage rights.
  • The Benin National Museum showcases the history of the Benin Bronzes, which were created not just for aesthetics but to tell the story of the state, with museum director Theophilus Umogbai emphasizing their cultural significance and the impact of their absence on the community's identity.
  • The Humboldt Forum in Berlin is set to house the Ethnological Museum, raising questions about the colonial origins of its artifacts, as the legacy of imperialism continues to affect former colonies, with many still grappling with the consequences of colonial rule and the loss of their cultural heritage.

20:41

Challenges of Repatriating Cultural Artifacts

  • The repatriation of artifacts is a complex logistical challenge, requiring communication with museums, trustees, and governments, as these artifacts are considered public assets rather than private property of museums.
  • The Benin Dialogue Group, co-founded in 2010 by museum director Barbara Plankensteiner, facilitates annual meetings between European and Nigerian museum representatives to discuss the return of Benin artworks, but criticisms arise regarding their lack of transparency and continued focus on permanent loans instead of outright returns.
  • Prince Kum’a Ndumbe the Third has been advocating for the return of his grandfather’s Tangué, seized in 1884, and has gathered necessary documents proving his rightful heir status, including a 1994 declaration from the Bele Bele people naming him heir to the throne.
  • The Munich museum requires proof of Kum’a Ndumbe’s legitimacy as heir, complicating the repatriation process, especially given the internal power struggles within the Bele Bele family, which has multiple potential successors to Lock Priso.
  • The Nike Art Gallery in Lagos, opened in 2007, showcases over 5,000 Nigerian artists, yet doubts persist about Nigeria's readiness to receive the Benin bronzes, with calls for a modern museum to be built to house them.
  • Concerns are raised about the security and preservation of returned artifacts, with suggestions that they could be sold again, while some argue that existing secure locations, like the Oba’s palace, should be sufficient for their return.
  • The Royal Museum in Benin City is progressing slowly due to limited funding, with a notable sale in 2007 of a bronze head for $4.7 million at Sotheby’s, from which Benin received no financial benefit.
  • Museum director Uta Werlich acknowledges the ethical dilemmas of exhibiting looted objects like the Tangué, which has been displayed for over 40 years, and emphasizes the need for dialogue about the colonial past and the responsibilities of European museums.
  • The return of cultural artifacts, such as Hendrik Witbooi’s bible and whip to Namibia, highlights the emotional significance of these items and the need for broader discussions about colonial legacies and the responsibilities of former colonial powers.
  • The debate over restitution emphasizes the importance of considering contemporary societal contexts, as younger generations must develop their own relationships with these artifacts, which may no longer serve the same cultural roles they once did.

40:03

Restoring Heritage for Justice and Healing

  • Justice is essential for individuals whose cultural heritage has been taken, and reconciliation should not involve Africans traveling to the Humboldt Forum in Berlin to view their heritage; instead, these objects should be returned to their rightful place, allowing history to be experienced actively, similar to the Igue Festival in Benin City, which features a procession to the royal palace to reaffirm loyalty to the Oba, a palace that was destroyed over 120 years ago during the British conquest of the Benin Kingdom, highlighting the ongoing impact of historical violence and the necessity of addressing past grievances through the return of artefacts and an acknowledgment of wrongdoing to initiate healing.
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