Making the case against repatriating the Elgin Marbles | Tiffany Jenkins

Summary

The debate over the Elgin Marbles, taken from Greece by Lord Elgin in the early 19th century and now housed in the British Museum, continues to stir controversy. Writer Tiffany Jenkins, author of *Keeping Their Marbles*, provides historical context and a nuanced view of repatriation. While acknowledging the marbles' preservation and significance in both Athens and London, Jenkins argues that museums play a vital role in fostering understanding through comparison, not just as symbols of imperialism. The discussion also touches on the evolving nature of museum politics, the role of social justice movements, and the broader complexities of cultural heritage preservation.

Takeaways

• 😀 The debate about the Elgin Marbles and their return to Greece continues to be highly contentious, with political leaders involved in recent disputes.
• 😀 The Elgin Marbles, also known as the Parthenon Marbles, were originally taken by Lord Elgin in the early 19th century while Greece was under Ottoman rule.
• 😀 The Acropolis, where the marbles originated, was a ruin at the time and was being used by the Ottoman Turks as a mosque, leading to the destruction of parts of the Parthenon.
• 😀 Lord Elgin claimed to have taken the marbles to preserve them from further damage, as they were under threat from both neglect and rival European powers like the French and Germans.
• 😀 There was a significant debate about the artistic value of the marbles when they were first displayed in London, as many were disappointed by their battered condition.
• 😀 The Elgin Marbles' arrival in London marked a shift in artistic taste, as the British began to admire the dynamic beauty of the Greek sculptures in contrast to the static Roman works.
• 😀 The romantic notion of preserving the marbles in their original state, as poet Byron suggested, clashed with the idea of keeping them in museums for broader historical understanding.
• 😀 Tiffany Jenkins' book 'Keeping Their Marbles' argues that museums, while benefiting from imperialism, didn't actively drive it. She views museums as valuable places for understanding cultures through comparison.
• 😀 The debate over repatriating the marbles is part of a broader discussion on the politicization of museums, with some arguing that cultural artifacts should be returned to their places of origin.
• 😀 Jenkins asserts that the British Museum's display of the Elgin Marbles helps visitors understand the history of Athens and ancient Greece, offering a complementary perspective to that of the Acropolis Museum in Greece.
• 😀 There is growing concern about museums becoming politicized, with a trend toward focusing more on social justice issues rather than just preserving and interpreting historical artifacts.

Q & A

What is the primary subject of the dispute between the UK and Greece mentioned in the script?

The primary subject of the dispute is the Elgin Marbles, which are currently housed in the British Museum but were originally taken from the Parthenon in Athens. The dispute revolves around whether these marbles should be returned to Greece.

How does Tiffany Jenkins describe the history of the Parthenon and its sculptures?

Tiffany Jenkins explains that the Parthenon was controversial even when it was first built in 432 BC, as it was an expensive and flamboyant project, partly meant as a trophy after a war with the Persians. The Parthenon itself was later in ruins by the 19th century when the marbles were taken.

What was the condition of the Parthenon when Lord Elgin took the marbles?

At the time Lord Elgin took the marbles, the Parthenon was a ruin, and parts of it were being used by locals for construction materials. It was not the well-preserved archaeological site that we recognize today.

Why did Lord Elgin decide to take the marbles, according to Tiffany Jenkins?

Lord Elgin took the marbles to preserve them, as he believed they were in danger of being destroyed or damaged if left in Athens, particularly because the French and Germans were also interested in acquiring them.

What impact did the arrival of the marbles in London have on the artistic community?

The arrival of the marbles sparked debates within the artistic community. While they were initially disappointing to some due to their damaged state, others were captivated by their dynamic and vibrant nature, and they became influential in shaping the aesthetic tastes of the time.

What were some of the arguments against taking the marbles from Greece, as mentioned in the script?

One major argument was that it was an act of vandalism. Famous figures like Lord Byron were vocal in opposing the removal of the marbles, preferring that they remain in Athens, even if it meant they would decay over time.

How does Tiffany Jenkins view the argument for returning the marbles?

Tiffany Jenkins argues that while the debate is complex and involves strong emotions, the British Museum offers a different perspective on the marbles, one that complements the experience of seeing them in the Acropolis Museum. She believes both locations provide valuable insights into the marbles' history.

What does Tiffany Jenkins mean when she says museums should not just moralize or lecture visitors?

Jenkins believes that museums should focus on helping visitors understand cultures and historical contexts through objects, rather than turning their displays into moral lessons about issues like colonialism or imperialism.

What is the significance of museums being seen as centers of imperialism, according to the discussion?

The discussion suggests that museums are often criticized for being symbols of imperialism due to the way many artifacts were acquired during colonial times. However, Jenkins argues that museums today help us understand cultures and their histories, even if their collections may have been influenced by imperialist actions.

How does the argument for repatriation of artifacts relate to modern social justice movements?

The argument for repatriation is linked to modern social justice movements, where activists push for the return of artifacts to their countries of origin. However, Jenkins points out that this movement often originates within the Western world, not from the cultures or communities directly affected by the historical actions.