Studying for an advanced degree is a bit like that. It takes up nearly every spare moment, and even when I am not reading or writing something, I am thinking of whatever it is I am supposed to be reading or writing. I see ethics and moral dilemmas everywhere. Even and especially when I am trying to relax or take a break from the intense analyzing of ideas, the topics present themselves.
One of the reasons I'd accepted the job in Lagos was for an opportunity to "just" teach art, an option that would allow me to focus on only one subject and to follow my passion. I'd imagined there wouldn't be much overlap and one would easily allow me to concentrate on the other.
Naturally, real life is interconnected and all things overlap. It's only taken a few short months for the first ethical dilemmas to begin presenting themselves and refusing to go away. I've designed all of the curriculum content to connect to self-identity and culture, social studies themes or aspects of study in other classes. 7th grade is studying West African history, which leads naturally to an examination of the Benin Kingdom and their stunning work in bronze. Which has led to an entire ethical analysis of the conflict over returning the Benin Bronzes, and African artwork in general (I feel a paper coming on...)
In 1897, Britain plundered the kingdom, stealing religious artifacts and ceremonial items. Oba Akenzua II began the quest to have the items returned in 1936 and it is an ongoing affair. On the surface, it seems to be a straightforward problem. The items were stolen and they should be returned.
There are several complicating factors, which I was happy to introduce to my 7th grade classes. Honestly, I was surprised at their responses, though perhaps I should not have been. A Eurocentric mindset is cultivated in communities across the globe since birth. They are no different.
They wanted to know if England had given credit to Nigeria (is that all it takes to make stealing morally acceptable?) When I raised the question about whether there should be monetary compensation included in the return because, after all, people have been paying a lot of money for a lot of years to visit the works, students sympathized with the Brits and suggested it would be difficult for them to give back the stolen loot after so many years and making so much profit. They suggested a 5 or 10% return. I hadn't read anything about restitution for past profit in the articles, but it turns out Trevor Noah and I think alike. There should be something to atone for all of the profits made over the 120+ years.
One of the responses to Europe's argument that there are not places to store or show African art encompasses the idea that perhaps it is not meant to show. These were not decorative art pieces, but sacred objects. Many were not meant to be seen by the general public but rather kept secluded in royal homes or other places. Just because Europeans have treated the art in a certain way throughout the ages does not mean that is the only way to treat them. Perhaps they go back to their sacred status, hidden, revered and an essential part of the spirit of the community.
There have also been some African leaders who suggest that having the work out in the world has been something of a cultural ambassador for African countries. They say they're ok with keeping some of the work in Europe where it will continue to showcase the skill and talent of African artists and present the history.
It's a complicated perspective since these items can be considered primary sources of historical events, many of which are not taught or discussed in African schools. These pieces provide very clear historical evidence of how kingdoms and courts were organized. Complex, stunning and showcasing great technical skill- those words apply not only to the artwork, but to everything surrounding the controversy and the historical significance of the objects.
I share a room with elementary art and the instructional assistant has overheard many of our debates. She took some time to share with me her direct lineage to the Oba and some of her perspective about the controversy. As someone who has inside knowledge about the use of some of the items, and the implications of having them openly accessibly, her perspective is revealing.
There really is no controversy. Stolen items need to be returned to the owner. The owner decides how best to care for them. End of story really.
The students were still not entirely convinced. I put everything in terms of their personal items- so, if I steal your sneakers, because I notice you don't care for them very well and I decide I know best how to care for them....is that ok? (no, they don't agree.)
If I come into your bedroom and steal all of your belongings, and then decide to give you a few things back- but keep the rest for myself....it's ok? (no, not really.)
And the one they really weren't sure about- if I steal all of your clothes and go out and make your fashion sense famous, I get to keep the money and anything positive that comes from that? I'll just mention that it was all your idea.....and you never had a chance to make it famous, because all your stuff was with me. (they're not really sure about this one....ownership of the idea versus ownership of the items- even if by stealing- versus power to make something seen)
We're talking about privilege here. The power and privilege to access international markets and international locations. The power and privilege to know your own history because the artifacts are housed safely in locations you can visit or presented in ways that accurately depict how they were used in your culture.
The conversations will continue. I can see their minds are still churning over the ideas and the connections and puzzling it through. Some walked out shaking their heads, commenting it was the best art class discussion they'd had, others kept referring to "our art," though clearly not Nigerian, clearly not aware of the history or culture in any way that would obviously merit an "our." Identity is a funny thing that way, a tricky thing for these third culture kids who live everywhere and belong nowhere. They need to develop as many perspectives as countries they've lived in, and they need to be given the opportunity to explore, understand and grapple with the complexities of colonialism, both its historical context and its current manifestations. They need to come to terms with their own role and the roles of their ancestors. The conversations will continue.
