whose restitution is this, anyway?

To date, stories of cultural restitution have primarily been a story about Western institutions, told from a Western perspective. The protagonists are benevolent European and North American organizations, whose virtue manifests itself in the “free” restitution of looted colonial objects. Western media’s emphasis on this “decolonization” has resulted in an increasing number of photo opportunities, accompanied by lengthy interviews with Western conservatives, followed by a few words of gratitude from “representatives of Nigeria”.

When the same media focus momentarily shifts to Nigeria, it does so only to find a deficiency. “Chaos” and “fiasco” are among the sweetest word choices. To these commentators, it may seem like the West is taking over a hundred years to begin to act on restitution, but unforgivable that Nigeria does not instantly resolve complex national and historical issues.

The objects were taken from a realm that is now part of a state and country that did not exist at the time they were removed. Government agencies have been established and regulations passed regarding objects of national significance. There are delicate balances and overlapping responsibilities between federal, state and community leaders that need to be managed, and are much more nuanced than Western news reports. There should be debate and disagreement about what is the most appropriate outcome. This is natural and will take time to fully resolve.

From the perspective of the institution we are developing in Nigeria, the Museum of West African Art in Edo State, it is essential that the story of the return of the Benin bronzes be told from the perspective of Africans , from the realities on the ground. Yes, Nigerians are grateful that the West is finally considering the return of the objects, and in particular for the considerable courage shown by the German government. But we have lost much more than works of art and artifacts.

In 1897, when the British razed Benin City and took away thousands of Beninese bronzes, Nigeria was deprived of a great collection of objects of religious, historical and cultural significance. But events like this have also accelerated the loss of a long tradition of supporting infrastructure and disrupted arts and culture manufacturing systems. In antiquity, the Royal Palace of Benin was a great patron of the arts with the resources of the sovereign supporting more than 40 craft and professional corporations. The Benin bronzes are a direct result of the palace’s support for artisans, artists and heritage professionals.

With the weakening of traditional kingdoms, followed by years of less than satisfactory leadership in Nigeria, there has been a tragic underinvestment in arts and culture, young artists, artisans, curators, archaeologists and historians of art being deprived of support and career. opportunities. Nigeria today suffers from a profound (albeit partly self-inflicted) deficit of platforms and programs to showcase, support and research arts, crafts and creativity.

Gain trust and respect

The mission of our museum is to begin to remedy this loss of cultural infrastructure in West Africa, while working in collaboration with the rightful owners of art and artefacts, and not to chase returned objects from our own boss. We may hold, study, conserve and exhibit West African objects, including restituted Beninese bronzes, but we do so only with the permission of the owners and authorities. As a new, independent charitable trust, we must earn the trust and respect of affected stakeholders with actions, not just words. But even as we work towards that goal and as restitution negotiations continue, we have a lot to do.

Nigeria and wider West Africa are endowed with an abundance of cultural history and artefacts already present in the region, as well as a vibrant contemporary artistic community, which needs infrastructure to research, exhibition, learning and exchange. The development of this infrastructure is our first priority. In today’s Nigeria, where approximately 70% of our population (out of over 200 million people) is under the age of 30, we must create infrastructure and programs that nurture and inspire young creatives and professionals in the culture, and improve career opportunities as an essential part. of our mission. As returned objects are entrusted to us, they will be welcomed into a much larger hub, where they will be seen side-by-side with contemporary and modern works of art to inspire the next generation of great West African designers. . Our museum complex will be defined by the needs and opportunities of present-day West Africa, not by romantic notions of the West.

Let us not forget that as Africans we are at a pivotal moment in arts and culture. Despite the current need for infrastructure and support, our music, literature, art, architecture and films are beginning to thrive and connect with global audiences. At the same time, many Western institutions seek “restitution” or atonement for the colonial past. We need to ensure that the term ‘restitution’ is shaped by us, and is not just about artefacts and victimization, but also about creating opportunities, networks and skills for the present and the future, so that young African creatives can be globally competitive. We must mobilize resources from national and international sources to reconnect the great artistic traditions of the past with talented contemporary creative professionals, and create equal points of exchange between the rest of the world and Africa that benefit the creative minds of two sides.

Our museum complex seeks to create an ecosystem to support the preservation and research of culture and artifacts from the past, but also, more importantly, to provide an infrastructure for learning and exchange, skill development and career enhancement opportunities for contemporary creatives, artisans and heritage professionals. . This is our restitution and our main objective.