The issue of African art appropriation is a pressing concern that highlights the complex and often fraught history between Africa and Europe.
For centuries, African artwork has been forcefully kept from its rightful owners, only to be displayed in European museums and galleries as symbols of class and refinement. This phenomenon is a stark reminder of the power imbalance that has allowed colonial powers to profit from African creativity, often without permission or compensation.
THEFT AND EXPLOITATION
The theft of African art is a symptom of a broader disease that has afflicted the continent for centuries. The transatlantic slave trade, colonialism, and imperialism have all contributed to the pillaging of Africa’s cultural heritage.
The Benin Bronzes, looted by British colonisers in 1897, are a prime example of African art taken without consent. These intricate bronze plaques, which once adorned the palace of the Kingdom of Benin (not the modern destination referred to as Republic of Benin), are now scattered across museums and private collections in Europe and beyond.
Rosetta Stone
Similarly, the Rosetta Stone, housed in the British Museum, is another example of African cultural heritage held in a European institution. The Rosetta Stone was taken by the British from Egypt in 1801, after British forces defeated the French in Egypt. The stone was surrendered to the British and subsequently transported to the British Museum in London, where it’s been housed ever since.
Why should London resist returning what they stole? This is arrogance at its worst.
Egypt has long requested the stone’s return, arguing it’s a vital part of their cultural heritage. The British Museum suggests that this artwork has been a key part of their collection and they are making it accessible to a global audience. So what? How do you argue over something that you stole? The owner wants it back. Period. The regressive debate around its ownership continues, though.
Kongo Kingdom Artefacts
The Congo’s rich cultural heritage, including artefacts from the Kongo Kingdom, was plued by Belgian colonisers, leaving the country with a significant cultural loss. During the late 19th and early 20th centuries, Belgium exploited the region’s resources, employing brutal force and violence, and resulting in the looting of numerous cultural artefacts, including masks, sculptures, and regalia. These artefacts, often stripped of their cultural context and significance, are now housed in museums and private collections in Belgium and elsewhere. The loss of these artefacts has not only diminished the cultural heritage of the Kongo Kingdom but also impacted on the historical memory and identity of the Congolese people, making efforts to repatriate these artefacts and restore the cultural heritage of the Congo an important step towards healing and recognition.
The impact of this cultural plundering is still felt today. African countries are often forced to negotiate with wealthy collectors and institutions to reclaim their stolen heritage, a process that can be both financially and emotionally draining. The removal of these artworks has also stripped African communities of their cultural identity and historical context, making it difficult for future generations to connect with their past.
A HISTORY OF CULTURAL APPROPRIATION
The appropriation of African art is not a new phenomenon. European colonialists have long been fascinated by African culture, often reducing it to mere exotica.
The Egyptian Sphinx’s nose, damaged by Napoleon Bonaparte’s forces, is a symbol of colonial vandalism. However, this account has been questioned due to some historical data that has surfaced which suggest that the nose was missing even before the Napoleonic forces invaded Egypt. This still needs to be investigated.
African masks and sculptures, displayed in European museums without context, have been reduced to mere “art” rather than cultural artefacts that hold spiritual and historical significance. The use of African patterns and designs in European fashion and design, without credit or compensation, is another example of cultural appropriation. This reductionist view has led to stripping original African art of its original meaning and significance.
PRESERVATION AND RESISTANCE
Despite the odds, African cultures have continued to resist the plundering of their heritage.
The rock art of the Khoi and San peoples in southern Africa is a powerful example of art that’s deeply tied to the land and the creators’ intent. Because it’s created in situ, it’s much harder to remove or steal, which has helped preserve the cultural significance and connection to the land. These ancient artworks are more than just beautiful paintings – they are a window into the spiritual, cultural, and everyday lives of the people who made them. And because they’re still in their original context, they continue to hold immense cultural and spiritual value for the communities they’re connected to. This art has been able to remain in place, allowing the descendants of the creators to still connect with their ancestors’ work and traditions.
The Ife bronze heads, created in Nigeria in the 12th century, are an example of African cultural heritage preserved and celebrated. These intricate bronze sculptures, which depict the rulers of the Ife Kingdom, are a testament to the advanced craftsmanship and artistic skill of African cultures.
MODERN METHODS OF INTERNATIONISED THEFT
The perpetuation of cultural exploitation and intellectual property theft is a scourge that continues to afflict the African continent, with the Walt Disney Corporation’s treatment of Solomon Linda’s composition, “Mbube,” serving as a glaring example. The 1994 animated behemoth, The Lion King, has grossed over $2 billion (USD), leveraging African cultural symbols and motifs to confer an aura of authenticity upon its narrative. This appropriation is all the more egregious given that the film’s creators saw fit to exclude African voices from the storytelling process, opting instead to profit from the creative labours of a South African musician, Solomon Linda, whose original work was pillaged without permission or compensation.
The case of “Mbube” is instructive, illustrating the power dynamics at play when Western corporations interface with African creative output. Linda, a black South African labourer, composed the song in 1939, only to have it co-opted by Disney five (5) decades later, with the multinational conglomerate reaping the financial rewards.
The linguistic and cultural inaccuracies that have resulted from this process are stark, with the mangled lyrics (“A-wemo-we! A-wemo-we!” – their obvious inability to pronounce the Zulu word “Mbube”) – serving as a metaphor for the broader disregard with which African cultural production is treated.
The emotional toll of this exploitation on Linda’s family, particularly his daughter Elizabeth Gugu, is a sobering reminder of the human cost of art and cultural imperialism. Gugu’s reaction upon realising that Disney was profiting from her father’s work without permission or acknowledgement was not happy, a testament to the enduring legacy of colonialism and exploitation that continues to shape the global cultural landscape. The Linda family did not compromise their father’s heritage with Disney settling out of court paying a huge amount to the family. Further, the settlement prescribed that the family receives royalties for any future earnings related to the use of their father’s artwork.
Furthermore and quite interestingly – How do you trademark a linguistic proverb or saying? In IsiXhosa they call it “iqhalo”. The move to trademark the Swahili phrase “Hakuna matata” (a language from East Africa, not West Africa) is not only laughable but is also a shallow attempt to claim ownership over African cultural expression, exemplifying the sense of entitlement that underlies much of the West’s interaction with the continent. It is imperative that African voices and narratives are centred in the telling of African stories, lest the continent’s cultural patrimony continue to be pilfered and profited from with impunity. How do you trademark a linguistic phrase? It would be interesting to see Disney taking me to court for using “Hakuna Matata)”. Indeed, colonialism is a mental error.
THE IMPORTANCE OF RESTITUTION
The return of these artworks is not merely a matter of restitution – it is a recognition of Africa’s central role in the story of human civilisation.
The return of cultural artefacts is not only a moral imperative but also a necessary step towards healing the wounds of colonialism. The development of collaborative and equitable partnerships between African and European institutions is crucial for the future of African cultural heritage. It is time for European institutions to acknowledge their role in the plundering of African art and to take concrete steps towards restitution.
TIME FOR CHANGE IS NOW
Europeans tend to think that they have a right over anything that is African. Patrice Lumumba’s tooth (which is not artwork) was a souvenir to some Belgian army official that snatched it and it was returned over 60 years later – hence I insist that colonialism is legalised madness and thuggery.
One crucial step is the ratification and implementation of international frameworks that facilitate the return of cultural artefacts. African countries should be encouraged to ratify and implement conventions which provide a framework for the restitution of cultural property.
Documentation and provenance research are also essential in establishing clear ownership and facilitating the return of even more cultural artefacts. This information must be publicly available to support repatriation efforts.
Collaborative repatriation efforts between African and European institutions are vital for the return of cultural artefacts. Such partnerships should be based on mutual respect and transparency ensuring that African institutions (The owners) are actively involved in the decision-making process. This legalised bullying by illegal beneficiaries must end.
Capacity building and training are necessary to enhance the ability of African institutions to manage, preserve, and promote their cultural heritage. This can be achieved through training programs, workshops, and collaborative projects that strengthen the skills and expertise of African cultural professionals.
Ultimately, policy and legislative reforms are needed to strengthen cultural heritage protection in African countries and prevent future exploitation. African governments should enact and enforce laws that protect cultural heritage, while also promoting the development of cultural institutions and industries. By working together, it is possible to address the historical injustices of cultural plundering and promote a more equitable and respectful cultural exchange between Africa and the rest of the world.
Zikomo
An adapted version of the article published in 2022)