Senegal’s Museum of Black Civilisations is open, asking the West to return stolen treasures

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Updated

December 27, 2018 00:56:01

As visitors walk through the Musée des Civilisations noires (Museum of Black Civilisations) in Senegal during its first month, global conversations around looted artefact repatriation are certain to continue.

Key points:

  • The museum opened in early December with $48.1m of Chinese investment
  • Its focus will be on African cultural history and the black diaspora
  • Its curator is going to ask for the repatriation of Senegalese objects in French institutions

The West African nation’s culture minister isn’t shy: He wants the thousands of pieces of cherished heritage taken from the continent over the centuries to come home.

“It’s entirely logical that Africans should get back their artworks,” Abdou Latif Coulibaly said.

“These works were taken in conditions that were perhaps legitimate at the time but illegitimate today.”

Last month, a report commissioned by French President Emmanuel Macron recommended that French museums give back works taken without consent, if African countries request them.

Mr Macron has stressed the “undeniable crimes of European colonisation,” adding that “I cannot accept that a large part of African heritage is in France.”

The new museum in Dakar is the latest sign that welcoming spaces across the continent are being prepared, this one placing a focus on Africa and its diaspora.

An injection of $48.1 million dollars from China tipped the idea into conception after the decades of inaction.

The idea was conceived when Senegal’s first president, internationally acclaimed poet Leopold Sedar Senghor, hosted the World Black Festival of Arts in 1966.

At the museum’s opening, sculptors from Los Angeles, singers from Cameroon and professors from Europe and the Americas came to celebrate, some in tears.

“This moment is historic,” Senegalese President Macky Sall said. “It is part of the continuity of history.”

Inaugural exhibition looks beyond colonisation

Perhaps reflecting the tenuous hold that African nations still have on their own legacy objects, the museum will not have a permanent collection.

Filling the 148,000-square-foot circular structure, one of the largest of its kind on the continent, is complicated by the fact that countless artefacts have been dispersed around the world.

Both the inaugural exhibition, “African Civilisations: Continuous Creation of Humanity,” and the museum’s curator take a far longer view than the recent centuries of colonisation and turmoil.

Current works highlight the continent as the “cradle of civilisation” and the echoes found among millions of people in the diaspora today.

“Colonisation? That’s just two centuries,” curator Hamady Bocoum said, saying that proof of African civilisation is at least 7,000 years old, referencing a skull discovered in present-day Chad.

Like others, Mr Bocoum is eager to see artefacts return for good.

The exhibition includes 50 pieces on loan from France, including more than a dozen from the Quai Branly museum in Paris.

More than 5,000 pieces in the Quai Branly come from Senegal alone, Mr Bocoum said.

“When we see the inventory of the Senegalese objects that are found in France, we’re going to ask for certain of those objects,” he said.

“For the moment, we have not yet started negotiations.”

He brushed off concerns that African institutions might be unable to care for their own heritage, pointing to the new museum’s humidified, air-conditioned storage space.

The history of some of the objects do, however, speak to the horrors of colonialism.

Pointing to the saber of El Hadj Umar Tall, a 19th-century West African thinker who fought against French colonialism, Mr Bocoum described how French troops fighting him stripped local women of their elaborate jewellery by cutting off their ears.

Contemporary works in the exhibition touch on both triumph and tragedy.

Museum celebrates the “resilience” of black people

There are black-and-white photographs of African nightclubs in the 1960s shot by famous Malian photographer Malick Sidibe, and a stark mural by Haitian artist Philippe Dodard depicting African religions and the middle passage.

Works by Yrneh Gabon Brown, based in Los Angeles, reference slavery and contemporary race relations in America.

“Sometimes I feel like a motherless child,” Mr Brown said.

“And here, as a member of Africa’s English-speaking diaspora, I am proud, reaffirmed.”

France, whose president in recent weeks has pledged to return 26 pieces to Benin, is just one of many countries loaning works for the new museum’s opening exhibition.

Mr Bocoum now is working with dozens of institutions around the world to plan future exhibits.

“This museum is celebrating the resilience of black people,” Professor Linda Carty, who teaches African American studies at Syracuse University, said at its opening.

“This is a forced recognition of how much black people have brought to the world. We were first. That’s been taken away from us, and we now have reclaimed it.”

ABC/AP

Topics:

colonialism,

arts-and-entertainment,

art-history,

visual-art,

fine-art-photography,

art-and-design,

senegal

First posted

December 27, 2018 00:37:14





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