Lara: Tuesday, June 27
With each week, the Team seems to be revealing even more exciting information from within the archives! While I could not say that my investigations today added much to the growing narrative, the information that Isabella revealed regarding the acquisitions of the Benin Bronzes, especially as the our objects relate to the military leadership in the Punitive Expedition, was extremely interesting and thought provoking. While the Penn Museum itself was not involved directly in the looting of the Benin material, their relationship to the products of that destruction leave me feeling icky. These items, for all intents and purposes, are spoils of war, on par with the looting of artworks in WWII and the massive looting operations in Iraq in 2003 and the present.
In context of the Penn Museum, it's ironic that during our archival sessions where we uncover the complicity the museum had (and still does) in harboring stolen material, there is an exhibition upstairs justly scorning such practices and revealing the true human cost of war. As a result, I agree whole heartedly with Dr. Zuberi's vision and believe it is more critical than ever for the museum to come to terms with history of these objects because they demonstrate, with clarity, the explicit knowledge the museum had of their origin's and significance. This research process, and ultimately the exhibit, presents an unparalleled opportunity for the museum to continue exploring its role as an institution that not only presents culture, but as Monique mentioned about a week ago, discusses culture thoughtfully. If "Culture in the Crossfire" is any indication of the institution's move towards a more thoughtful presentation of this collection, then I have high hopes for the Africa Galleries Re-instillation.
However, considering the archival verification of the origins of the bronzes, I'm curious if the museum will be subject to repatriation claims from the Nigerian Government, if they haven't been already. I haven't come across any mention of repatriation claims made for Penn's holdings, but the British Museum has had requests made on multiple occasions for the return of the bronzes to the ruling Oba of Benin. While the British Museum seems to have no intention of repatriating the Bronzes, the descendent of a soldier present at the Expedition recently repatriated two items, a bell and an Ibis to the ruling Oba. Named a friendly gesture, the Oba's brother still calls for the return of all looted material from the BM and international institutions that hold stolen bronzes. Feel free to read these articles for more details of the return:
https://news.artnet.com/art-world/benin-bronzes-looted-by-the-british-returned-to-nigeria-46550
http://artdaily.com/index.asp?int_sec=11&int_new=70980#.WVMkJiMrJ1O
What then is our responsibility to this request? If the narrative of the exhibition intends to denounce the cruelties of colonialism, then how does our continued holdings of this material, products of that colonial injustice, not contradict our intentions? What are the ways that we can rectify that injustice, and what are the opportunities the museum has to help make this an exhibition one of healing as much as learning? Is repatriation an option?
As usual, no answers, but still many questions.
In context of the Penn Museum, it's ironic that during our archival sessions where we uncover the complicity the museum had (and still does) in harboring stolen material, there is an exhibition upstairs justly scorning such practices and revealing the true human cost of war. As a result, I agree whole heartedly with Dr. Zuberi's vision and believe it is more critical than ever for the museum to come to terms with history of these objects because they demonstrate, with clarity, the explicit knowledge the museum had of their origin's and significance. This research process, and ultimately the exhibit, presents an unparalleled opportunity for the museum to continue exploring its role as an institution that not only presents culture, but as Monique mentioned about a week ago, discusses culture thoughtfully. If "Culture in the Crossfire" is any indication of the institution's move towards a more thoughtful presentation of this collection, then I have high hopes for the Africa Galleries Re-instillation.
However, considering the archival verification of the origins of the bronzes, I'm curious if the museum will be subject to repatriation claims from the Nigerian Government, if they haven't been already. I haven't come across any mention of repatriation claims made for Penn's holdings, but the British Museum has had requests made on multiple occasions for the return of the bronzes to the ruling Oba of Benin. While the British Museum seems to have no intention of repatriating the Bronzes, the descendent of a soldier present at the Expedition recently repatriated two items, a bell and an Ibis to the ruling Oba. Named a friendly gesture, the Oba's brother still calls for the return of all looted material from the BM and international institutions that hold stolen bronzes. Feel free to read these articles for more details of the return:
https://news.artnet.com/art-world/benin-bronzes-looted-by-the-british-returned-to-nigeria-46550
http://artdaily.com/index.asp?int_sec=11&int_new=70980#.WVMkJiMrJ1O
What then is our responsibility to this request? If the narrative of the exhibition intends to denounce the cruelties of colonialism, then how does our continued holdings of this material, products of that colonial injustice, not contradict our intentions? What are the ways that we can rectify that injustice, and what are the opportunities the museum has to help make this an exhibition one of healing as much as learning? Is repatriation an option?
As usual, no answers, but still many questions.
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