The British Museum is full of stolen artifacts

Summary

The British Museum, home to over 8 million artifacts, faces controversy over disputed ownership of cultural pieces, including the Benin Bronzes. The script explores the museum's colonial past, the Benin Punitive Expedition, and the ongoing debate about repatriation. It highlights the struggle of countries seeking to reclaim their cultural heritage, with the museum's stance on restitution and the importance of cultural identity.

Takeaways

• 🏛️ The British Museum is the world's largest world history museum, holding over 8 million artifacts spanning 2 million years of human history.
• 🌏 The museum's collection includes disputed ownership items, with nearly half of the 12 'Don't Miss' pieces having such issues.
• 🏹 The Easter Island sculpture and the bronze sculpture of Shiva are among the star pieces of the museum.
• 🛡️ There has been a growing debate on whether cultural artifacts should be returned to their home countries or remain in western museums.
• 📚 The British Empire's expansion in the late 1600s resulted in the acquisition of many cultural artifacts, some of which are now in the British Museum.
• 🏺 Some items in the museum were legally acquired, like a 2,000-year-old Roman vase, while others like the Rosetta Stone and Parthenon Sculptures are disputed.
• 🏺 The Benin Bronzes are a significant and contentious part of the museum's collection, representing a wide range of items from the Kingdom of Benin in Nigeria.
• 🛑 The Benin Disaster in 1897 led to the British taking thousands of cultural pieces from Benin as a form of punishment and economic gain.
• 📜 The Benin Bronzes served as visual archives of the kingdom, narrating its history, political, and social life in a society without a developed written script.
• 🌐 The Benin royal family has requested the return of the cultural property taken illegally, but the British Museum is restricted by a government act and has declined these requests.
• 🔄 The British Museum's stance is to lend artifacts widely, including to Nigeria, rather than repatriating them, emphasizing its role as a 'library of the world'.
• 🔍 The issue of contested artifacts in the British Museum is part of a larger legacy of colonial power and the ongoing debate over cultural and historical identity.

Q & A

What is the British Museum known for?

The British Museum is known as the world's largest world history museum, holding more than 8 million cultural and historical artifacts that cover 2 million years of human history and drawing millions of visitors every year.

What is the issue with some of the artifacts in the British Museum?

Nearly half of the 'Don't Miss' items in the museum have disputed ownership. While the museum claims these pieces belong there for the world to see, many are fighting to have them returned to their countries of origin.

How did the British Empire's expansion affect the collection of the British Museum?

During its rule, the British Empire took precious resources and wealth, including thousands of cultural and historical artifacts, from countries around the world. Many of these artifacts ended up in the British Museum, contributing to its growth.

What is the significance of the Rosetta Stone in the British Museum?

The Rosetta Stone is a significant artifact in the museum that was taken by British troops from the French in what is now Egypt, and it represents one of the disputed items in the collection.

Who are the Benin Bronzes and why are they contentious?

The Benin Bronzes are a vast range of items produced in the Kingdom of Benin in present-day Nigeria, dating back to the 1500s. They are contentious because they were taken by British troops during the 'Benin Punitive Expedition' and are considered stolen property by many.

What role did the Benin Bronzes play in the Kingdom of Benin?

The Benin Bronzes were visual archives of the kingdom, narrating its history, political and social life, and were used for religious rituals. They were not just decorative but held significant cultural and historical value.

What was the 'Benin Punitive Expedition' and why was it launched?

The 'Benin Punitive Expedition' was a mission launched by 1,200 British troops in response to the killing of seven British emissaries by Benin guards. It was also an economic enterprise aimed at retrieving the vast treasures in the Benin palace to offset the cost of the invasion.

What is the stance of the British Museum on returning disputed artifacts?

The British Museum is restricted by a government act that prevents it from returning objects. It has stated that it does not restitute but is committed to lending artifacts as widely as possible, including to Nigeria.

How have some individuals attempted to address the issue of disputed artifacts?

In 2014, the grandson of a British soldier from the 1897 Benin Expedition returned two items he inherited to the Benin royal family, showing personal efforts to address the issue of disputed artifacts.

What is the Benin Dialogue Group and what is its purpose?

The Benin Dialogue Group, formed in 2007, consists of Western museums and the Nigerian government. It has been discussing solutions for the return of the Benin Bronzes and other contested objects, although none have been returned as of the script's date.

Why is the issue of returning cultural artifacts important?

The issue of returning cultural artifacts is important because it concerns cultural and historical identity and who gets to own it. It is about recognizing and rectifying the legacy of colonial power and respecting the rights of the original owners.

Outlines

00:00

🏛️ The British Museum's Cultural Dilemma

The British Museum, the world's largest museum of world history, attracts millions of visitors annually and houses over 8 million artifacts spanning 2 million years of human history. However, it faces a contentious issue regarding the ownership of nearly half of its 'Don't Miss' pieces. While the museum maintains these artifacts are rightfully theirs, a growing debate questions whether cultural artifacts should be repatriated to their countries of origin. The script delves into the historical context of the British Empire's expansion, which led to the acquisition of numerous disputed artifacts, including the Rosetta Stone and the Parthenon Sculptures. It also introduces the Benin Bronzes, a collection of significant items from present-day Nigeria, which were taken during the punitive expedition of 1897 and have become a focal point of the repatriation debate.

05:02

🏺 The Struggle for the Benin Bronzes

This paragraph continues the narrative of the Benin Bronzes, a collection of artifacts from the Kingdom of Benin, now part of Nigeria. The artifacts, which served as visual archives of the kingdom's history and culture, were looted by British troops during the 'Benin Punitive Expedition' in 1897. The paragraph describes the emotional impact of this loss on Nigerians, many of whom will never see these artifacts due to the challenges of travel and access. It recounts the efforts of the Benin royal family to have these cultural treasures returned, which have largely been ignored by the British Museum due to legal restrictions and the museum's stance on maintaining its collection. The script also highlights the broader implications of this issue, touching on the legacy of colonialism and the ongoing struggle for cultural identity and restitution, as well as the slow progress towards potential solutions involving international dialogue and the return of some items by descendants of the original looters.

Keywords

💡British Museum

The British Museum is the world's largest world history museum, drawing millions of visitors annually. It houses over 8 million cultural and historical artifacts spanning 2 million years of human history. The museum's collection includes legally acquired items as well as those with disputed ownership, which is a central theme in the video. For example, the museum's 'Don't Miss' list features star pieces like the Easter Island sculpture and the bronze sculpture of the Hindu God Shiva.

💡Cultural Artifacts

Cultural artifacts refer to objects that embody the history, culture, and identity of a particular group of people. In the video, the British Museum's collection includes many such artifacts, some of which have been taken from their original contexts and are now the subject of ownership disputes. The video discusses the ethical implications of displaying these artifacts in a Western museum versus returning them to their countries of origin.

💡Disputed Ownership

Disputed ownership refers to the controversy surrounding the rightful ownership of certain artifacts. The video highlights several items in the British Museum, such as the Rosetta Stone and the Parthenon Sculptures, which have been taken from their original locations and are now claimed by other countries. This issue is a major point of contention and is central to the debate on whether these artifacts should be returned to their home countries.

💡Benin Bronzes

The Benin Bronzes are a collection of artifacts from the Kingdom of Benin in present-day Nigeria. They include a wide range of items such as engraved ivory tusks, brass sculptures, and plaques. These artifacts were taken by British forces during the 'Benin Punitive Expedition' in 1897 and are now housed in various Western museums, including the British Museum. The video discusses the historical context and the ongoing debate about the return of these artifacts to Nigeria.

💡Colonial Power

Colonial power refers to the control exerted by one nation over another, often leading to the exploitation of resources and cultural artifacts. The British Empire, which was the largest empire in history, took thousands of cultural artifacts from countries it colonized. The video discusses how the legacy of colonial power continues to affect the ownership and display of these artifacts in museums like the British Museum.

💡Cultural Identity

Cultural identity is the sense of belonging and self-understanding that comes from one's culture and heritage. The video emphasizes the importance of cultural artifacts in preserving and expressing cultural identity. The debate over the return of artifacts like the Benin Bronzes is not just about physical objects but also about the cultural and historical identity of the people from whom they were taken.

💡Benin Punitive Expedition

The Benin Punitive Expedition was a military campaign led by the British in 1897, following the killing of British emissaries by Benin guards. The expedition resulted in the destruction of the city and the looting of thousands of artifacts, many of which ended up in the British Museum. The video uses this historical event to illustrate the violent acquisition of cultural artifacts and the ongoing struggle for their return.

💡Cultural Restitution

Cultural restitution refers to the process of returning cultural artifacts to their countries of origin. The video discusses the efforts by countries like Nigeria to reclaim their cultural artifacts from Western museums. The British Museum's stance on not restituting but lending artifacts is highlighted, showing the complexity of the issue.

💡Historical Artifacts

Historical artifacts are objects that provide evidence of past human activity or events. The video focuses on the British Museum's collection of historical artifacts, many of which have been taken from their original locations. The debate over the ownership and display of these artifacts is central to the video's narrative, emphasizing the importance of historical context in understanding their significance.

💡Cultural Reconstitution

Cultural reconstitution refers to the process of rebuilding or reassembling a culture's identity and heritage. The video concludes with a call for the initiation of this process, emphasizing the urgency of addressing the legacy of colonial power and the need to return cultural artifacts to their rightful owners.

💡Ethical Debate

The ethical debate in the video revolves around the moral implications of displaying cultural artifacts in Western museums versus returning them to their countries of origin. The video presents different perspectives on this issue, highlighting the complexities of ownership, cultural identity, and the historical context of these artifacts.

Highlights

The British Museum is the world's largest world history museum with over 8 million artifacts spanning 2 million years of human history.

Nearly half of the museum's 'Don't Miss' items have disputed ownership, with many countries fighting to have them returned.

The British Empire's expansion in the late 1600s resulted in the acquisition of thousands of cultural artifacts, many ending up in the British Museum.

Some items in the museum, like a 2,000-year-old Roman vase, were legally acquired and undisputed.

The Rosetta Stone and Parthenon Sculptures are among the disputed items, taken by British forces from Egypt and Greece respectively.

The Benin Bronzes, produced in present-day Nigeria, are some of the most contentious items in the museum, taken during the 1897 Benin Punitive Expedition.

The Benin Bronzes served as visual archives of the Kingdom of Benin, narrating its history, political, and social life in a society without written script.

The Benin Disaster of 1897 led to the British punitive expedition, which aimed to retrieve the vast treasures in the Benin palace to offset the cost of the invasion.

British soldiers conquered and burned the city of Benin, taking thousands of artifacts, which were labeled as 'loot' and sold worldwide.

The Benin royal family requested the return of all illegally taken cultural property in 2000, but the British Museum has largely ignored these requests due to a government act.

The British Museum claims its value lies in its breadth, scale, and unity as a 'library of the world', but critics argue it still behaves like a colonial museum.

In 2014, the grandson of a British soldier from the 1897 Benin Expedition returned two items to the Benin royal family, signaling a potential shift in attitudes.

The Benin Dialogue Group, formed in 2007, has been discussing solutions between Western museums and the Nigerian government, though no Benin Bronzes have been returned yet.

The contested objects in the British Museum represent a legacy of colonial power and the ongoing debate over cultural and historical identity and ownership.

The process of cultural reconstitution is a long-term project that may extend beyond a single lifetime, but it is crucial to start now rather than waiting for future generations.

Transcripts

This is the British Museum.

It’s the world’s largest world history museum

and it draws millions of visitors every year.

Inside, it holds more than 8 million cultural and historical artifacts from all over the world

which cover 2 million years of human history.

If you follow the museum’s recommended list of “Don’t Miss” items, you’ll see its star pieces.

Like this Easter Island sculpture that’s

about a thousand years old.

Or this bronze sculpture of the Hindu God Shiva.

But there’s a problem hidden in the museum,

and we can see an example of it along this route.

Out of those 12 pieces, nearly half have disputed ownership.

The British Museum claims those pieces belong there, on display for the world to see.

But in recent years, many have been fighting to get them back to where they came from.

"The list of disputed museum treasures keeps on growing"

“Should cultural artifacts be returned to their home countries or be left in western museums?"

"The subject of intense debate as to who should now own them”

Let’s start with some context.

In the late 1600s, the British Empire began expanding across several continents.

It became the largest empire in history, controlling about a quarter of the world’s land and population.

During its centuries-long rule, the empire

took precious resources and wealth from countries all around the world,

Including thousands of cultural and historical artifacts.

Many of which ended up here, in the British Museum

which was founded in 1753 and kept growing to accommodate all the new pieces

in its collection.

Lots of the items in the museum were legally acquired

and are completely undisputed, like this one.

A 2,000 year old roman vase sold to the museum by a Duke in 1945.

The problem is with the pieces that are disputed.

Like the first item you see as soon as you walk in.

The Rosetta Stone, taken by British troops

from the French in what is now Egypt.

Or further in, the Parthenon Sculptures.

Removed from the acropolis in Athens by a British Lord, and sent to the British Museum.

Or, over here.

On the floor dedicated to African Art.

The Benin Bronzes.

Some of the most contentious items in the museum.

The Benin Bronzes are kind of hard to categorize,

because they include such a huge range of items.

From engraved ivory tusks

to brass sculptures

to plaques.

But they were all produced here, in the Kingdom of Benin in present-day Nigeria.

This wealthy and industrious kingdom produced

thousands of objects and art pieces starting in the 1500s.

A lot of the items adorned palace walls and were used for religious rituals.

But they weren’t just decorative...

They were visual archives of the kingdom

in a society that did not develop written script as we know them.

That’s Professor Chika Okeke-Agulu, an art historian and professor from Nigeria

who teaches at Princeton University.

They told their history, how they narrated the histories of kingship

of the kingdom. Its political and social life.

But in 1897 would lose thousands of these cultural pieces.

At the time, European colonial powers were

expanding south, in what was called the “Scramble for Africa”.

They split up the continent into spheres of influence for financial exploitation.

All these pink areas were the British ones.

Benin, over here, was in Britain’s sphere of influence.

But the kingdom didn’t comply with Britain's trade demands.

And in January of 1897 it led to what was

called the Benin Disaster.

Where Benin guards killed seven British emissaries, plus their many guides and servants.

In response 1,200 British troops embarked

on a mission called the “Benin Punitive Expedition”.

The British wanted revenge, but the mission was about more than just that.

There were reports of these vast treasures in the palace of the king of Benin,

and that if they could retrieve these treasures, sales from it could offset the cost of the invasion

This was all well planned.

And so the punitive expedition, in other words, was also an economic enterprise.

The British soldiers armed with machine guns

conquered the city and burned it to the ground.

But not before carefully taking thousands of artifacts.

They piled them up neatly, photographed them

and even labeled them “loot”.

This photo, taken at the Benin palace after the raid,

shows soldiers with the dismantled plaques that were brought to the British Museum,

and sold all over the world.

And after hundreds of years,

the once prosperous kingdom was gone.

The region fell under full British colonial

control until 1960, when Nigeria, including the City of Benin, gained independence.

But even though they were finally free,

their historical artifacts were still spread all over the world.

Locked up in western institutions, like the Leipzig Museum of Ethnology in Germany

and the Quai Branly Museum in Paris.

And, of course, the British Museum.

1995.

In London.

That was my first time seeing an original ancient Benin artwork.

Yes. At the British Museum.

Being in the presence of these magnificent objects

and knowing that I had to travel all the way from Nigeria

to see these objects for the first time...

It was a mixture of pride.

At the achievement of these ancient artists.

And anger. Mixed with a sense of loss, at what could have been

if I only had to travel a few hundred miles.

But at this point, you're limited to those

privileged like me who could get a visa to travel all the way from Nigeria to England

to encounter these objects.

Most Nigerians will never see them.

In March 2000, Benin’s royal family tried to change that.

They officially requested “all cultural property illegally taken… be returned to

the rightful owner”

But for the most part the British Museum has ignored any requests.

The museum is restricted by a government act that prevents it from returning objects.

But it has also made its stance clear.

In July of 2020, the British Museum told Vox:

“We don’t restitute but we are absolutely committed to lending as widely as possible,

including to Nigeria. The Museum’s foundational value resides in its breadth, scale, complexity,

and unity and as such is a true library of the world.”

Chika doesn’t see it that way.

The British Museum still behaves

like a colonial museum.

You cannot claim to be...

an encyclopedic collector of stolen objects.

But some are starting to reckon with this history.

In 2014, the grandson of this British soldier from the 1897 Benin Expedition,

returned these two items he inherited to the Benin royal family.

And in 2007, the Benin Dialogue Group was formed.

Western museums and the Nigerian government have been discussing solutions ever since.

But as of today, none of their Benin Bronzes have been returned.

But this is just one story.

This legacy is bigger than the Benin Bronzes.

There are hundreds of similarly contested objects in the British Museum,

with their own rich histories — and with original owners trying to retrieve them.

But the problem is even bigger than the British Museum.

It’s a legacy of centuries of colonial power that repeats itself again and again.

With different artifacts, in different museums.

Because these requests aren’t just about items,

they are also about cultural and historical identity

and who gets to own it.

This is a long term project.

It may last beyond my own lifetime.

But the point is that it's now to start the process.

We cannot wait any longer for a next generation to even begin

the necessary task and project of cultural reconstitution.