hey everybody welcome to real view africa with justine a show where we look back at
the interaction of the african continent its people the western world through the lands of
a certified african resident me this episode focuses on african art the magnificence of
people's traditions and ways of life that were pillaged so that people in a foreign land can be
amazed by it we're also going to look at how they did it and why they won't give it back
western museums and libraries hold a large number of artifacts that they appropriated
over the ages through conquest and colonialism i love how they have all these fancy words for theft
up to 90 of africa's material cultural legacy the material wealth that we get from our ancestors
when they were on earth bowling is outside the continent this sounds like this artifacts just
wandered off to explore the high seas frankly that would have made for a better story in truth most
of these were stolen by european colonial powers looted during ethnographic missions or acquired
under questionable conditions in various markets say what you will about colonialists but when they
were out stealing they went all in guns blazing no morals or heart picture this it's the late 1890s
in the kingdom of benin the oba had trade monopoly over the area the royal ninja company which is one
syllable away from saying what they really mean aren't happy about it the oba's trade monopoly had
them on an extreme end of like how dare this black people spectrum so they decided to do something
about it in 1892 the british vice council of the oil river protectorate henry galway visited benin
city hoping to open up trade and incorporate it into the british protectorate he had a befitting
surname because where there's a goal there's a way galway signs a treaty with the oba and his chiefs
with glosses in their boat oba claiming they need protection this was in fact a lie a powerful life
because if someone is defending you they could easily trip fall and punch you back in the face
the treaty apparently granted the british free trade but the oba wanted custom duties the
british challenge on their audacity considered this act hostile and in bridge of the agreement
in november 1896 phillips the african coast vice council asked his superior colonial ancestry that
p to visit benin city and the oba to discuss the trade in late december he hadn't received a reply
maybe because the crow carrying his mail probably did not want to collaborate on his mission but he
decided to go anyway philip sent a message to the uber to see him the oba sent back cantor now kinda
busy because the timeline was messing with his igua celebrations and we all know life is for
enjoyment the story cuts to phillips getting killed alongside all those who came with him
to discuss the treaty this is known as the benin massacre in response to this the british invaded
the kingdom of benin in january 1897. they went crazy on their war catalogue sending warships
gun boats and as many soldiers as possible and in 12 days captured the city as a deranged bonus
they also burned down obaz palace but they claimed it was an accident they also sent him to exile in
calabar thousands of artworks and benin bronzes were planted and sent to britain 40 went to the
britain museum while others were gifted to the generals as spoils of war and others were even
auctioned off killing people because they didn't accept your little agreement is low but killing
and stealing from them is also another level of law so far most european museums have successfully
cleared all these levels additionally loathing wasn't just an exclusive activity for gun wielders
and worship owners anthropologists or so-called missionaries curators and private collectors got
in on the action as well in peaceful times you all know the saying if you can't beat them join them
by being slick in how your actions end up harming other cultures for your own profit now that we've
established that this is how they got most african art why won't they just give it back we received a
letter from the colonizer retreat and here it is hello africa your art is great we love it
however after decades of minimal consideration we've decided to keep it thank you very much
for reaching out you all are going through a lot right now poverty hunger and famine
war the cost of fuel elections not being able to get tickets to a burner boy concert
afro nation not coming back i think it's best if you focus your energy on that
you're saying that this art belonged to your grandfather prove it oh you have a family
we do too and we too want our children's children to share in the culture of us conquering you oh
you want to come here and see it good luck you might first want to check the strength
of your passport sincerely yours europe returning african art is getting a big no from colonizers at
ancestry.com there's a long-standing policy of objective refusal to cease ownership over these
forcefully acquired treasures despite numerous africans demanding it back that's why they
kill mangasin in black panther was so delightful plus michael b really looked great in that scene
the defense against returnism is the same defense museum give for their existence they claim to
be custodians and conservatives of humanity's cultural and natural treasures that may sound
very noble but these works of art are being held for spectation in a foreign environment that's it
most of your pests are already a wanting spectacle you could focus on that i'm looking especially
at you germany most of these artworks retain and perpetuate stereotypical narratives that europeans
had and still have about africans getting to call people savages in the tags of your art collection
while you struggle to separate racism in a refugee crisis is a great mountain of cognitive dissonance
the items on display are selected named organized and identified by europeans this kind of power
erodes the original african story and identity of these works of art this is high filter
erasure only second to what snapchat does to your face different countries have reinforced
their colonial institutions in their rules of law in modas operandi france famously mimmed by
this lady in a colonial rebuttal have claimed that the art collections belong to the state
and cannot be given back this is a bigger legal battle for francophone countries they've pillaged
and still have to pay hefty taxes to their colonizers you can catch a full review on this on
our next episode another disturbing factor that is part of the african artifacts on displaying
these museums are thousands of skulls of african people and collections of human remains which are
directly tied to scientific racism imagine being so overtly racist that you accidentally create
subcategories of your shameful acts these people even had human zoos up to as recently as 1958
where people from congo were put on display this isn't at this is absolute dehumanization with the
cherry of what will you do about it on top these horrific displays were referred to as cabinets of
curiosity which were then rebranded to museums to take some hit off the racist connotations in a bid
to combat the harm they've done there have been multiple attempts to make these african displays
more culturally sensitive attempt is an accurate inspection for people who will
do anything but the right thing the gravity of these historical injustices can only be
addressed through repatriation hashtag bring back our art this restores the urgency of
africans as producers of their own history after reputation africans can decide how to preserve
display and utilize these items because most are living sources of knowledge objects of worship and
expressions of life for instance human remains including skulls of african ancestors can be
brought back to their ancestral lands and buried following local traditions cultural items could be
used as sources of knowledge and storytelling for future artists and historians of the land
like a version of the mummy where the dead are left alone the end one great example is the
large volume of geez manuscripts and 15 tablets that were taken during the battle of magdala
in 1868 by british troops let's just pause here to say that the british possess the biggest restless
leg syndrome of the colonial caravan tablets are sacred objects that only present the ethiopian
orthodox terahedral churches can touch imagine if someone stole all the pop's regalia and destroyed
every chest of it but kept that tiny little cap in the cabinet of curiosities the gizz manuscripts if
given back will be used as textbooks to thousands of ethiopian traditional schools returning benin's
bronze artifacts can help honor ancestors who are exiled and maimed and help validate the
ascension of the new oba cast brass plaques which once decorated the benin royal palace
and which provide an important historical record of the kingdom of benin can be returned african
art is more than beautiful objects you get to see they are a way of life and should be treated
as such here is a rough estimate of how much african art is still held in western museums
by dispossessing people of their cultural artifacts books and important religious and
cultural relics you dispossess them of their knowledge their history and philosophy this has
very concrete real-world implications it's like the british without their tapestry of egg bacon
sausage and baked beans for breakfast museums and libraries that hold vast collections of african
cultural resources must face the fact that they are continuing a legacy of dispossession
similar to that of the colonial forebears hashtag return our art
thanks for watching please subscribe follow share and don't forget to like this video
it's the best way to support this channel you can directly support this series rearview
africa with justine by becoming our youtube member patreon or donor and remember africa is watching