Art Repatriation: to be Accepted and Celebrated
Kaitlin Dryburgh
In the past few decades it has slowly but surely become clear that we need to own up to our past, however embarrassing that might be. We’re talking colonialism. Although those directly responsible are long gone, as a country we still see the benefits of it. We can't change the past but we can apologise and provide a more rounded view of Scotland's history, among other things.
But walk into almost any major museum in Scotland or the rest of the UK you can pretty much take your pick from artifacts from every corner of the globe, at any time period. Admittedly, it’s great and something we have taken for granted. Yet in recent times the mist has dissipated somewhat and the true reality of how we’ve come to acquire such treasures is slowly dawning.
This comes off the back of the National Museum of Scotland returning a stolen totem pole to the indigenous Nisga’a nation in Canada. The pole was acquired by the museum in 1929 when it was out-right stolen by a researcher, floated down river and shipped over to Edinburgh, where it has been on display since 1930. The researcher in question, Marius Barbeu, was able to commit the crime when a high number of members were away for the hunting and gathering season.
When a delegation arrived in Edinburgh to formally request for the pole to be returned it didn’t take all too long for both the museum and the Scottish government to realise there was only really one right response. Return it.
In a rather touching ceremony important members of the Nisga’a nation returned to Edinburgh for a handover, where the pole began its month long 4,200 mile vogue back to its original home. Upon arrival to the misty British Columbia morning cedar branches were laid at its foot, as members of the 600 people nation queued to walk past and take pictures. A ceremony was thrown in its honour and in attendance was a delegation from Scotland’s National Museum. Although both parties have been brought together by an unfortunate event, it seems that a bond has been made between the museum and the indigenous nation. One that is made of more respect than their first encounter hopefully.
I remember going to see the totem poll on some of my first visits to the museum and Edinburgh, back when you would go through the big wooden doors that brought you straight into the big hall. I remember straining my wee neck to see the carvings all the way at the top and trying to figure out how the heck someone was able to do that. I’m sure there are thousands that have done the same. It is something to truly behold.
Although there are many who are astounded by the craftmanship, this piece of art or artifact has a much deeper meaning to those who it was snatched away from. The pole was originally commissioned due to the death of a warrior who died in battle, the family of those who commissioned and carved the pole are still here and this is part of their family history as well as their people’s history. They are tired of having to go to so much effort to explain their history when many of us don’t have the same challenge. This is more than just a funky piece of wood but an item of deep-rooted significance for an indigenous nation, why shouldn't it not be with them? This a start to putting right some of our wrongs.
It's something we need to get used to, and we’ve already seen cases of museum repatriation taking place in drips and drabs as it becomes more and more important to own up to our part in colonialism.
In June Germany returned ancestral remains and mummified heads to New Zealand (what kind of sick person steals heads anyway? 95 to be exact). Within the Māori and Morori cultures the connection to their ancestors is continuous no matter the distance, and as such the taking of their ancestors is extremely angering. Up until the 70’s it was common for Māori and Morori remains to be traded, with the majority stolen from graves. It is important that they be given a burial and finally be laid to rest. A decency that you would think should be extended to everyone. So from six museums scattered around Germany the remains will make their way back to New Zealand.
This week the Metropolitan Museum of Art in New York announced that they would be returning two works of art to Nepal, which is another repatriation in a line of items they’ve returned to Nepal. Several months ago the National Museum of Australia returned two sculptures from the ninth and tenth century to Cambodia having determined they were stolen. While Manchester Museum returned a total of 174 items of cultural significance to an Aboriginal community in Australia’s Northern Territory.
For several countries there has been a big push to recover cultural items of significance that were either immorally taken or stolen. New Zealand even set up a dedicated team twenty years ago to bring their items and ancestors home. The tattooed mummified heads of their ancestors has become a priority, and without question New Zealand has had success. However, many of their ancestors remains still lie oversees. One of the most resistant museums which indecently also has a queue forming of disgruntled and enraged countries is the British Museum in London. An institution formed from pilfered art and historic artifacts, from Wales to China they’re all knocking on their door to recover what many nations believe is stolen.
Yet the British Museum is by no means going down quietly. The problem being that if a large share of your collection has come to be through thievery and looting, an admission of guilt or understanding could have a snowball effect. Their long-standing feud with the Greek government is testament to this. The Parthenon sculptures or as they’re fondly referred to in the British Museum “the Elgin Marbles” have been a point of negotiation and contention between Greece, the museum and the UK government since the 80s. Greece argue that the sculptures which were taken by Lord Elgin in the early 19th century were removed without adequate permission. While the British Museum, now chaired by Mr George Osbourne, believes the contrary. Their reasoning being an 1816 Parliamentary investigation found Lord Elgin acted lawfully. Funnily enough 1816 reasoning doesn’t align itself with repatriation. The negotiations continue, with UNESCO even offering to get involved.
Yet there still remains an unequal balance in power, the Museums have the art so the ball very much rests in their court. More often than not the countries or communities which come to take what should be rightfully are at a disadvantage, being smaller, less resourced, and perhaps slightly more vulnerable. Looking at the aboriginal communities from the likes of New Zealand, Australia, and Canada they’ve fought hard to fight discrimination and receive reparations from their own countries, never mind the global community which also took advantage. Although organisations such as UNESCO can get involved there is no requirement and enforcement. Unfortunately, without an independent body to facilitate negotiations or find the truth, communities are at the mercy of the museums. And in some cases George Osbourne, scary stuff.
Scotland has had its own brush with reclaiming significant cultural artifacts. The infamous Stone of Scone, or Destiny, was eventually returned in 1996 having previously been taken back North of the border by Ian Hamilton and friends. The Stone is more than just a quirky myth with a backstory, it’s a symbol of Scottish Nationalism. Perhaps that doesn’t mean much to others, just like the artworks and cultural artifacts that other countries are fighting for. The meaning and significance of these items are not often fully realised in foreign museums, it's the people and context that give them meaning. Setting foot in a museum you can be transported, discover new culture and be in awe of what you see, yet when others are struggling to explain their own history while their significant art lays in a foreign country.It may be time to revaluate.
