culture – Pike & Hurricane

What Goes Around Should Always Come Back Around

Kristina Bartl — Sat, 22 Feb 2020 15:31:59 +0000

I still remember the first time I went to visit the British Museum with my brother. I found myself staring at the museum’s collection map and, as indecisive as I am, I could not pick a starting point for our journey. Did I want to be taken back to Ancient Rome and Greece and stroll through halls full of temples and statues? Or was I rather in the mood for South Indian Artifacts such as the statue of Shiva Nataraja? And what about Ancient Egypt — I always wanted to see a Sphinx! I was amazed by the fact that all those treasures could be found within one building in Central London, but my brother only rolled his eyes and said: “Ever heard of Colonialism?” and all of a sudden I was not that amazed anymore.

They came, they saw, they took

People who grew up in western parts of the world tend to forget that exhibition material is more than just a collection of pretty things to look at. Those objects are related to ancient myths and represent the origin of entire cultures. One of the many ways Britain exploited several parts of the world as a colonizer, was the theft of cultural assets, only for them to be displayed in their museums. Especially in the last few years, countries have started to demand those stolen artifacts back. Since then it’s been heavily discussed in the media if those artifacts should be returned or not.

Museums have two main arguments that speak against them handing back the artifacts. Firstly, it is claimed that the countries of origin do not have the required knowledge and means to maintain the objects. The fact that western museums consider their knowledge regarding ancient artifacts as superior to eastern museums, is not a good look considering the entity of this discussion. Furthermore, and almost a bit ironically, there is a claim that returning some of these goods is almost impossible, because the original owners are not traceable, even though researching the artefacts’ origins is a huge part of the museums’ work. Yes, returning heavy marvel-built parts of Greek temples back to their home country would be without a doubt an intense process, but maybe this is just one more hint that they were never meant to be displayed in foreign museums in the first place.

Cultural appreciation or exploitation?

Museums are not the only places where we can find awkwardly placed ancient artefacts. Within one mile distance from the British Museum stands Cleopatra’s Needle, which has no connection to Cleopatra besides its origin. It came all the way from Alexandria in 1877 after being gifted to Britain by the Sultan of Egypt and Sudan. Two similar obelisks found their way to Paris and New York. Shipping those enormous artifacts to their current placements was expensive and nearly took the lives of some of the sailors. All this expenditure for a monument. What is it with the West and its obsession with other cultures? Whilst cases such as Cleopatra’s needle are at least not as ethically questionable as the display of stolen artifacts, it is still an example of the West and its exceptionally strong interest in other cultures. On the one hand, some representatives have openly spoken about appreciating the fact that their culture is being displayed to a huge audience, yet it should also be possible for their citizens to see the artifacts that have been crafted by their ancestors.

Some museums, such as the Nationaal Museum van Wereldculturen, introduced a policy which is dedicated to the returning of goods that are reclaimed by their original owners. There are also private collectors who handed back artifacts that they inherited, which is how some of the famous Benin Bronzes found their way back home, while most of them are still in the British Museum in London or in the Metropolitan Museum in New York. France handed back a few objects in November last year, but it does not outweigh the fact that former colonies only own a small percentage of their cultural artifacts, whilst their former colonizers withhold most of them. For example, 90 percent of African artifacts displayed are exhibited in European museums.

The discussion surrounding the stolen artifacts has, of course, many more factors and stories that have to be considered, but in the end; theft is theft. If former colonies reclaim their cultural heritage, they have every right to have them handed back. And if it is, for whatever reason, not possible to return stolen goods, then there has to be at least enough transparency regarding how they ended up in the museum’s possession. Britain, and other former colonizers, have profited from other cultures for long enough and it is time for them to talk about their history. After all, that’s what museums are here for, isn’t it?

by Kristina Bartl

Photo Credits

London, Das British Museum, symbol

Museum, Roof, Architecture, London, hurk

Benin Bronzes, Archie, CC BY 2.0

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Big Issues Through Little Eyes

Taminka Hanscamp — Thu, 03 Nov 2016 14:46:47 +0000

In the leafy suburban outskirts of Oslo is a white house. It is almost as unassuming as the subject matter it contains, it is the International Museum of Children’s Art. Compared to the White House in Washington DC this one greets you with colourful giant snails, butterflies and a cow. This joyful expression of childhood and imagination does not however, preclude the Museum from being properly viewed as a centre of international and political concern. The Museum provides a unique opportunity to see and consider the perspective of children on international issues. It also gives a platform for children to be recognised in our society and works for the promotion of the rights of the child.

For too long we have dismissed the voices, wisdom and concerns of children, especially in politics, but this forgets that children are already involved in the ‘adult’ world. When we do remember, our responses are often paternalistic and disempowering. This is wrong as it is also their world and their future that is being dealt with. Children are key stakeholders in many serious international issues, for example concerning work, slavery and violence and when it comes to child labour and child soldiers we are quick to voice outrage and concern as these practices are seen as abhorrent abuses of the rights of the child and the sanctity of childhood. Children are also at the centre of issues such as education, health, climate change, immigration and population growth. Acknowledging that children are involved in international issues places the need and value of showcasing their views and contributions, through their art, squarely in the field of foreign affairs. Further, it seems absurd that the International Museum of Children’s Art in Oslo is the only one like it in the world. This is especially because children produce art on a prolific scale and the ability and time to do this epitomises the realisation of the ideal childhood that the world invests so much into protecting and developing.

Sharmin Chait, 10 years, Bangladesh, ‘Child Worker’

The Museum hosts exhibitions inviting contributions from children around the world on different themes. In this way it captures the perspectives, concerns and understandings of local and global issues in a unique way. The Museum is currently exhibiting the best works from the last three decades to celebrate its 30th birthday. This special exhibition and the Museum’s archives provide valuable insight into how time, technology, perspectives and cultures have both changed and collided across the globe. For example two exhibitions on fatherhood were done in the last 30 years allowing for a comparison of how family roles have changed in this time. Whilst the newspapers that previously featured were replaced with computers and phones, depictions of anger and fear were unfortunately common to both eras.

Left, Michiru Shioji, 3 Years, Japan, ‘My Father is Angry!’; Right, Jonas Lindborg, 10 Years, Sweden, ‘Papa’

What remained with me as I wandered through the galleries was the ability for children to distil very complex issues into a clear sentiment. Pieces from exhibitions on environment and disaster highlighted how the challenges of climate change are already felt very seriously in the lived experiences of those who will be affected the most. Some pictures showed the grave concern and hopelessness of the issues whilst others had a quixotic tone. The greed and waste that have so clearly contributed to climate change are outlined so simply that you can’t avoid this truth staring you in the face. The works and indeed the gallery shone a light on how adults are often indifferent to the concerns of children and the type of world they want us to leave them.

Left, Emma Lorena Cabaldoens, 13 years, Panama, ‘NATURE See, Smell, Feel and Admire It. Don’t Forget What It Was. Preserve It’; Right, Olga Crasik, 15 Years, Ukraine, ‘The Dream

In displaying contributions from around the world on single topics, the Museum provides a rich resource for understanding different cultures and nations. Children’s art reconnects us to the basic truths of our shared existence on the planet, and the gallery is a beautiful reminder of the importance and value of giving children the respect they deserve and a voice in matters of international concern.

Taminka Hanscamp

Photo Credit: Pictures 1-5 Permission from the International Museum of Children’s Art

Cover image: 5 years, India, ‘I am going to the Moon’ International Museum of Children’s Art Used with Normal One Time Permission

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