Why_Is_the_Ownership_of_Benin_Art_so_Controversial_

Question: Why is the Ownership of Benin Art so Controversial' (1000words) The ownership of Benin art is still a greatly contested area, and there are a number of opinions which should be looked at, on whether or not they should be returned to their place of origin. It is important to note that there has been a change in the relationship between Europe and Africa, From when Benin’s artefacts were first forcibly removed after the British invasion of Benin in 1897. These works of art were made in Benin in the fifteenth and eary sixteenth centuries, they were things of great beauty and on par with art of some European courts of the sixteenth and seventeenth century. This did not fit in with Victorians racist picture of an ‘African primitive way of life’ ( Loftus, Wood, 2008, p. 76.). To recently, where there has been a shift in the way Western museums set about displaying Benin art to best represent it as a way of enlightening people on the history of the Benin kingdom and court life. It is important to consider the circumstances as to how these artefacts came to be in western hands. When Benin was conquered by the British, the Europeans perceived the city as a brutal and savage land. Uncovering the artefacts was a revelation to the Europeans. They were seen as the only valuable things they could take back to Britain and sell. Consequently, they were ripped from their locations, and much of the details about their context were lost forever. However, the artefacts As well as being objects of beauty, were culturally very important and served very specific purposes, to the Benin people. This was disrupted when they were moved. So seeing the bronzes or sculptures just as pieces of art in western museums could undervalue the importance and meaning they hold back in Africa. Therefore, there are some opinions, like that of Kevin Dalton-Johnson (Black Arts Alliance), who feel the art should be returned to Africa, where the original ownership was. ‘They belong to all Africans and all diasporic Africans. That’s part of our cultural heritage. Its our right’ ‘Whether they stay or whether they move, the choice should be ours.’( Kevin Dalton-Johnson, speaking in ‘The Art of Benin’, 2008) He does emphasize the point that from talking to other Africans, they feel ‘quite strongly’ over the fact that the artefacts should be returned. The colonial legacy is now finished, therefore Africans should have equal say in terms of where the bronzes should go. The artefacts could just as easily be loaned to western galleries, or viewed via the internet. However, Chris Spring (British Museum), feels the Benin Bronzes should stay in the British Museum, as moving them back to Africa is not the best way ‘to right old wrongs’. He feels it is important that these works are as accessible as possible to everyone, of all nationalities. Infact, he believes they belong to all ‘humankind’, rather than to a particular culture. His view is, if the artefacts all went back to Africa, then people of all nationalities would not just be able to wander off the street and learn about African culture.In other words, it is important for the African collections to be in the museum, along with the other great cultures of the world. Then perhaps this work can ‘alleviate the racism and ignorance ‘some people still hold regarding ‘people of African heritage’. Chris Spring, speaking in ‘The Art of Benin’ 2008.) He also talks about ‘Reparation Through Education’, where works in the museum, and amongst the public, have a huge role to play in lifting people’s ignorance about African art. He says it is a good idea to take works out of museums and into different parts of the UK, as well as loaning them back to African countries. He talks about sharing the British museums expertise with colleagues in African countries. Whereas Kevin Dalton –Johnson does not think that western museums can provide the correct information. Someone who is far removed from African culture , might perhaps tell the story more from their perspective. Only someone from their culture can possibly provide the expertise in understanding the true meaning of Benin art. If Western museums do continue to house Western art, then it is important that they attempt to show African culture with dignity and respect. The Benin art housed at the British museum, and the The Horniman museum manage to achieve this, In particular the Horniman museum where Benin plaques are dramatically displayed, each separately in its own space, accompanied with information on the past and present culture of Benin. A Nigerian historian, Joseph Eboreime, has completed essays with photos of ceremonies and costumes, he has achieved in present-day Benin. They are even captioned in the language of the Edo people, with English translation. The Quai Branley museum in Paris manage to combine successfully through visually stunning displays, the artistic side of Benin art, with the anthropological information needed. In other words, as well as being shown as the beautiful aesthetic objects they are , they also shed light on the Benin culture and way of life. In particular, the magnificent bronze plaques, which are eulogy to the Oba and his chiefs. There is no written records atal of Benin rituals and culture, so these provide a historical record of their rituals, to compliment the oral records. Anne Christine Taylor, the Director of research and information at the museum, feels that many French people may still see African cultures as ‘essentially tribal’, and perhaps showing Benin in this way may alter their perceptions. The whole debate of who rightfully owns the Artefacts of Benin, is very much alive and ongoing. Whether the Artefacts can continue to be defined by Western museums as ‘belonging to mankind’, or whether they should be in Western hands atal, is a many-sided debate, which will probably continue to be an ongoing story for much time to come. Word count 992. References: Woods, K., Mackie, R.(2008) ‘The Art of Benin: Changing Relations Between Europe And Africa 1’ (AA100 book 3), Milton Keynes, The Open University. Pp1-87. Loftus, D., Wood, P. (2008) ‘The Art of Benin’: Changing Relations Between Europe and Africa 11 (AA100 book 3), Milton Keynes, The Open University. Pp44-87. The Art of Benin – Kevin Dalton-Jones, and Chris Spring, Return of The Benin Bronzes. (2008)(AA100 DVD ROM), Milton Keynes, The Open University. The Art of Benin- Anne Christine Taylor, Paris Exhibition. (2008) (AA100 DVD ROM), Milton Keynes, The Open University.