"A high-priority cultural policy": The German Lost Art Foundation is hosting a conference on looted art and the restitution of colonial objects.
France recently returned this artwork to BeninImage: Gao Jing/Xinhua/imago images
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"As we engage with museums in a colonial context, we face the reality that historical trauma and contemporary trauma coexist because the result of that 'hewa' (sin), the wrongfulness of the original theft, persists," said Noelle M.K.Y. Kahanu during the German Lost Art Foundation's conference in Berlin about the return of collection items from colonial contexts. But the seed for their return lies in the moment of their theft, the University of Hawaii scholar said.
The three-day online conference featuring more than 40 scholars and experts from all over the world started with a conciliatory mood, albeit thought-provoking, with words that show how deep the loss of cultural heritage weighs even today.
Over the centuries, a number of objects from Hawaii have found their way to Europe in an illegal context, including sacred objects and human bones.
In October 2017, the Staatliche Ethnographische Sammlungen Sachsen ethnographic collections restituted human bones to descendants from Hawaii — after 26 years of unsuccessful repatriation requests from the Hawaiian side.
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The long path to restitution
The participants in the conference, more than 40 scholars specialized in the field, are examining why there are still so many unanswered questions after all these years. The discussions look into the history of the artifacts and their unfair acquisition, trace the disputes between the museums and the societies of origin and discuss what the "homecoming" of human bones or cultural objects can mean for societies.
The debate is very welcome and long overdue, according to Hermann Parzinger, director of the Prussian Cultural Heritage Foundation.
France returns colonial looted art to Benin
Twenty-six artworks from the former Kingdom of Dahomey are returned to Benin. They were previously on show at the Musee du Quai Branly in Paris.
Image: Lois Lammerhuber/musée-du-quai-Branly
A special exhibition in Paris
Nearly 130 years after they were added to France's collection, the artworks were returned in 2021 to Benin, in West Africa. Before their restitution, the works from the former Kingdom of Dahomey (located within present-day Benin) were on display in a special exhibition in Paris.
Image: Michel Euler/AP/dpa/picture alliance
A feared kingdom
Dahomey, which existed from the 17th to the end of 19th century, was one of the most powerful African kingdoms. Behanzin (pictured) is considered its last independent ruler, coming to power through traditional structures. He led the national resistance against French troops when they invaded the kingdom in 1890. Following France's victory four years later, Behanzin fled into exile with his family.
In 1892, while French troops were conquering the country, various artifacts — including these three royal statues — were stolen from the royal palace in Abomey and brought to France. They were first exhibited at the Musee du Trocadero before moving in 2006 to the Musee du Quai Branly. The construction of the controversial museum initiated by former President Jacques Chirac cost over €235 million.
Image: picture-alliance/dpa/G. Julien
Plans for the works in Benin
In Benin, the artworks will first be displayed at the governor's house in the coastal city of Ouidah, located next to the Museum of History (photo). They will then move on to the former royal city of Abomey, where an entirely new museum will be built. Benin, which became independent in 1960, wrote to the French government in 2016 demanding the return of the works.
Image: Stefan Heunis/AFP/Getty Images
A promise kept
In 2017, French President Emmanuel Macron had pledged to facilitate a law on the restitution of looted art. Until then, cultural objects kept by France were subject to a special legal framework: As public property, they were inalienable, regardless of the circumstances of acquisition. The law allowing the transfer of collections was passed in 2020.
Image: Ludovic Marin/AFP via Getty Images
The sword of El Hadj Omar
In addition to the restitution of the Beninese artworks, France also returned in 2019 a valuable sword, which belonged to the general and scholar El Hadj Omar, to what is now Senegal. It was the first restitution made by France to one of its former colonies. In this photo, Senegal's President Macky Sall (right) accepts the sword.
Image: AFP Seyllou/AFP via Getty Images
Valuable woodwork
In addition to the royal statues, other royal regalia such as scepters and portable altars will be restituted to Benin. This richly decorated royal chair will also be returned to West Africa. In addition to Benin, six other African states — Senegal, Mali, Chad, Côte d'Ivoire, Ethiopia and Madagascar — have submitted restitution claims to France.
Image: Pauline Guyon/musée-du-quai-Branly
Lost heritage
It is estimated that Europe detains 90% of Africa's material cultural heritage. The collections of the Musee du Quai Branly in Paris alone contain some 70,000 works of art from sub-Saharan Africa. More than half were acquired during the French colonial period. Investigations are currently underway to determine if they were unjustly obtained.
Image: Pauline Guyon/musée-du-quai-Branly
Handover planned for mid-November
Other countries in Europe have also committed to returning art from colonial contexts to their countries of origin. Germany, for example, wants to return the so-called Benin bronzes to Nigeria starting in 2022. In France, President Macron is signing the official handover documents to Benin on November 9. The artworks are expected to arrive there a few days later.
Image: Pauline Guyon/musée-du-quai-Branly
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"The question of decolonization is definitely not just a question for museums. It's a challenge for our entire society and for many other institutions that were also affected by it," he said at the opening event.
Processing the colonial past
A few "historic milestones" have been reached in coming to terms with German colonial history, said German State Minister for Culture Monika Grütters, listing the return of the whip and the Bible of local folk hero Hendrik Witbooi to Namibia and Germany's commitment to restitute the so-called Benin bronzes to Nigeria beginning in 2022.
"The matter must and will continue to be a high priority for cultural policy, also and especially here in Germany," she said at the opening of the conference.
Grütters added that the process of coming to terms with the colonial past is still in its infancy in Germany, both on a political and a social level.
That includes funding of the Magdeburg-based German Lost Art Foundation, which is hosting the conference. So far, the center supports 40 projects with about €4.4 million ($5 million).
This whip belonging to Nama tribe leader Hendrik Witbooi was long showcased in a museum in StuttgartImage: picture-alliance/dpa/M. Murat
One focus of the conference will be the debate surrounding the return of cultural objects from sub-Saharan Africa — 80% to 90% of its cultural heritage is estimated to be in Western museums.
During the colonial era, many pieces were acquired illegally and ended up in European collections. For some years, European museums have shown an awareness for the matter, but it was a long way before Europe was willing to talk about restitution.
As long ago as in the 1870s, Ethiopia demanded restitution, among other things of sacred objects, said Wolbert G.C. Smidt, who teaches at Friedrich Schiller University in the eastern German city of Jena and at Mekelle University in northern Ethiopia.
Only few items were returned, which for Ethiopia "equated de facto to undermining Ethiopian power," Smidt said.
The lessons to be learned from failed restitution requests will be one of the topics of the conference's closing event on Friday. It already seems clear that much remains to be done to come to terms with the colonial past.