Feature Article : "The Author's/Authors' views do not necessarily reflect those of ModernGhana.

As readers know, the exhibition, Benin - Kings and Rituals: Royal Arts from Nigeria, which started in Vienna, in 2007, went on to Paris and Berlin, was opened in Chicago, on 10 July and will be there until 21 September 2008.

For various reasons, including the fear of litigation and judicial attempts to seize some of the Benin bronzes, only some 220 objects will be displayed in Chicago compared to some 300 objects in Berlin. The bad consciences of some of the holders of these objects seem to have been activated by the previous protests in Chicago and the discussions on the illegality and illegitimacy of their possession. Hence some owners were not willing to let their artefacts cross the Atlantic to the USA where judges are quick to order seizure of artworks which are alleged to have been stolen or dubious provenance.

A 40 page catalogue specifically made for the Chicago exhibition, Benin: Royal Arts of a West African Kingdom, does not appear to be ready yet but will highlight 22 masterpieces from Benin art and includes as essay by the curator, Kathleen Bickford Berzock. As we have mentioned in various articles, the 535 page catalogue edited by Barbara Plankensteiner for the exhibition in Vienna, Paris and Berlin is a masterwork and should be also consulted by all those seriously interested in the arts of Benin. (1) The home page of the Art Institute of Chicago contains very useful information, including videos for the understanding of the exhibition and the arts and culture of Benin.
www.artic.edu/aic

According to reports from Chicago, the opening of the exhibition was an impressive affair with the presence of the august Nigerian visitors as well as prominent Nigerians based in Chicago and Illinois.(2) Important Chicago officials such as the Mayor were present as well as Reverend Jesse Jackson, the African-American leader and activist. Edo singers and dancers as well as West African bands were also there to contribute to the occasion in African fashion by
providing music, an indispensable element in all African social activities.

Once again, the Benin Royal Family emphasized the need for the return of the artefacts which were stolen by the British in 1897. Princess Theresa Evbakhavbokun Erediauwa stated that she wants to build a secure museum in Benin. She and the Nigerian officials there asked for support in recovering the artefacts back through diplomatic channels. She wanted her family heirlooms back. These objects tell the story of her family.

Chief Esosa Godwin Eghobamien stated that the presence on the artworks in Benin would provide more and better context. Visitors to exhibitions where these objects are displayed often do not even know where Benin is and it would be better if they came to see where the artefacts were produced and thus see where civilization started in Africa. Kingsley Ehi, a real estate manager in Chicago and head of the Edo Arts and Cultural Heritage expressed the hope that these artefacts will soon be returned home.

Despite the sad story of the looting of the Benin bronzes, Prince Ademola Iyi-Eweka was impressed by the exhibition; he would like the artworks to be returned. The world should know that Benin has survived despite losing the war against the British. Diplomatic efforts are being made to secure the Benin bronzes but if that fails, steps would be taken to institute legal proceedings.

James Cuno, Director of the Art Institute of Chicago, responded to the please of the Nigerian representatives by saying that the Art Institute of Chicago which is not involved, only possesses half a dozen Benin works of art which are beautiful and important. The encyclopaedic museum allowed art works from various countries to be seen at one place and their interconnections. He was concerned by the trend towards consolidating art from a particular time or place in a single location. A dispersal of the objects enables more people to see the objects and also reduces the risk of calamity. Despite all this, Cuno stated that if there were a request for the return of the Benin objects, the Art Institute of Chicago would consider it seriously.

Cuno's statement must be considered as noteworthy of attention, coming from a man considered by man as the defender of the “universal museum”' a guru for all those who believe nothing should leave the British Museum and similar “universal museums.” (3) Cuno has made repeated attacks on those he calls “nationalist retentionists”for claiming ownership in ancient artefacts of ancient peoples with whom they have nothing in common except that they occupy the same territory as the ancient civilizations.

The report on Cuno's statement is sketchy and we do not have his exact words. We do not know whether he repeated his usual criticism of those claiming restitution in his abrasive style in presence of the Royal Family of Benin and the Nigerian officials. If the statements attributed to him are to be believed, then Cuno has made a small but significant shift in his stand. He did not dismiss outright such claims but is willing to consider such claims. Willingness to consider does not imply acceptance of the claim but it at least shows an admission that such claims may be valid in some cases.

We do not have the full text of Cuno's statement and may never have it since it appears to be the policy or practice of this exhibition not to publish the full text of statements made at the opening. I still have not seen any text of statements made in Vienna, Paris or Berlin. This is an interesting practice in a scholarly matter.

We hope that when Cuno says he will consider the matter when a request is made, he is suggesting that so far no request has been made. The Nigerians have repeatedly in Vienna, Berlin and Chicago made it clear that they want their artefacts back. What else must they do?

We have shown in several articles that there is no legal requirement for a formal demand. If the Art Institute is willing to consider returning some of the Benin bronzes but feels that the Institute's regulations or some binding law would require written demand, he should in good faith, inform the Nigerians about this requirement and the relevant procedure. He should not leave it to the Nigerians to beat about the bush. Any other approach would seem to be merely delaying tactic. Cuno as well as the Nigerians are interested in clearing this matter if the co-operation he hopes for is to be fruitful.

A goodwill gesture by the Art Institute of Chicago would be an encouragement to those holding hundreds of Benin bronzes to come forward and make their indispensable contribution. Despite statements by a mischievous director of a famous American museum, neither this writer nor any of those arguing for restitution are suggesting that all Benin objects be returned to Benin. We are only suggesting that it is time that, for example, the British Museum which allegedly holds 1000 pieces and the Ethnology Museum, Berlin, which admittedly has 800 pieces could each afford to return some pieces each. The nightmare of the museum directors that they may one day find their museums emptied of all their African objects is a figment of the troubled imagination of those who have not attempted to understand the position of others.

Discussions in Nigeria on the restitution question, in view of the Chicago exhibition, are concerned with the lack of progress in the process of recovery (4). Comparisons have been made with the spectacular return of a number of objects by US museums to Italy. It is known that the Italians used both diplomatic negotiations, legal proceedings, including imprisonment of a curator of the Paul Getty Museum. In this context, one could also mention the success of another African country, Egypt, in recovering some 3000 objects in the last six years. The Supreme Council on Egyptians Antiquities, under the dynamic leadership of Zahi Hawass, publish their activities at their homepage and their objectives are made known to the public and all concerned.

In an article published in the Nigerian newspaper, The Guardian, it appears that the aim of the Nigerian Government at the moment is to make an inventory of Nigeria's stolen artefacts. The Minister of Tourism, Culture and National Orientation is reported to have disclosed that a committee will be set up to make an inventory of Nigeria's artefacts within and outside the country. In this connection, it is recalled that the Minister was reported to have referred to the establishing of such an inventory in his speech in February, at the opening of the Benin exhibition in Berlin. Despite all efforts, we have not been able to secure a copy of the text of that statement.

With regard to an inventory of stolen Nigerian artefacts abroad, it should be stated that with regard to the Benin bronzes, the catalogue prepared by Barbara Plankensteiner for the exhibition in Vienna, Paris and Berlin, contains information sufficient for the identification of the locations and owners of the Benin objects. Philip J. C. Dark, in his study, “Benin Bronze Heads: Styles and Chronology”, identified 6500 Benin objects in some 77 places, mostly museums.(5) Similar publications and information on other Nigerian arts, such as those of Ife and Nok are easily available. We know for sure that some Nok objects are in the musée du quai Branly, in Paris, and are there with the consent of Nigeria, after they had been illegally acquired by the French.

A complete inventory of Nigerian artefacts inside and outside the country appears to be more than a Herculean task the utility of which should be carefully considered. Most of the countries than have recently recovered stolen arts do not seem to have made such an inventory but proceeded as and when information became available.

However one looks at the issue of restitution, it is clear that the Queen Idia hip mask means more to Africans and Nigerians than to Europeans and the British. Which European derives inspiration or hope from the African Queen-mother? Indeed, most Europeans are not even aware that there are so many African Queens and Kings held against their will in European and American museums. If the European museum directors do not understand this, they should stop talking about heritage of mankind. What kind of heritage is this which allows one side to high-jack for hundreds of years the religious, ritual and cultural icons of the other?

If the Art Institute of Chicago finally decides to return a Benin bronze, quite diplomacy would be given a great boost. If nothing comes out of cooperation with such institutions, the Nigerians must seriously re-examine their position and methods so far.

In Chicago, stolen Benin artefacts on parade Continued    Source: Kwame Opoku, Dr.

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