Crowning the Legacy of African Masters

First clarification must be made as to what I mean by 'African Masters'. Please note that these are not African slave Masters, Head Masters or Master Sergeants! The Masters referred to here are those great African artists/craftsmen of many centuries ago, whose “classical” works of art have claimed so much global attention and have become objects of world-tour. True to that, the pieces are going to be on display in major art institutions in the US beginning June 6, 2010, having achieved riveting reviews from the just ended exhibition at the British Museum (BM), which is today the proud custodian of these priceless pieces.

For over three decades, African scholars as well as civil societies concerned with African heritage both on and outside of the continent have been part of a chorus that is continually clamoring for the return of precious pieces such as the Face of Idia, the ivory mask of Queen Idia of the then Benin Empire among other great works of art by African masters on grounds that the pieces were said to have been looted, trafficked, seized or simply bartered for other items far below their true value. Research has also shown that some of the pieces in question were given as gifts to some of the collectors that presently possess them today, 'a case in point was in 1973 when General Yakubu Gowon, the then Nigerian head of state, took an antique brass head of a Benin King from the National Museum in Lagos and presented it as a gift to the Queen of England on her state visit [to that nation]' (NewAfrican magazine, May 2010 issue).

When an item is given as a gift, it becomes the legitimate property of the one who receives that gift. However, oftentimes friends or relatives of the generous giver may frown when they consider the item too precious to be given as a gift! The same is true when an item is believed to have been sold for a price far below its true value.

Ibrahim Keita, a gallery manager from the Ivory Coast confirmed this, during a candid conversation, to the point of drawing this parallel between the above situation and the current crisis in his country: years ago, some not-so-wealthy Ivorian sold their lands in order to educate their children. Once educated, the children discovered that their desperate parents were 'cheated' on the land deal, now, they want these lands back! Similar scenario is unfolding in Liberia's Nimba County bordering with the same Ivory Coast.

While for the most part there is no clear or reliable knowledge as to whether these works of art by African Masters were legally acquired or not, the debate and call for their repatriation continues to grow daily, gaining new audiences and forums every time. Yet, Africans have not come to a point to award credit to the great artists behind the pieces or intellectual properties. Giving credit to writers, musicians and artists for their intellectual works is a very important issue in the creative world today. Even if these masters whose works have claimed world attention and debate at the same time are not known by names --- because it seems sufficient research has not been made in that direction --- the synergies of African scholars and heritage civil societies are geared toward bringing the pieces back! Oh, that's nice; interest is in the pieces and not the people that created the pieces. In Europe and the Americas, people who did such incredible works are referred to today as “Masters”. They are revered in their homelands as cultural custodians of the highest order.

No matter how great a work of art may be, the greater greatness rests with its creator, its master. The work of art becomes part of the creator's legacy, no matter where the piece ends up or how much it is sold for. But once again, we ask: who really are the masters behind such great works of African art?

If the identities --- the crown of any legacy --- of such great artists can be allowed to practically fade to oblivion, it is very unlikely that a name will be found in the future annals of history for present day artists on the continent. Where does this leave us then? Will this not lead us to the point of singing the same old repatriation song after another two centuries from today?

Many may say no, but the answer is yes!

Today a demand is made for works of art whose creators we do not know, at the same time ignoring the present works created by the African artist just next door, sometimes even ignoring his very existence and atelier. A typical example is the 2008 scenario in Liberia, where an entire cultural village that came to life in the 60s was demolished in favor of a modern resort just outside the capital Monrovia (see Daily Observer Vol. 12 No. 66 '“Minister [of culture] Misled Me” President Ellen Johnson Sirleaf on Kendeja Riot' & Vol.12 No 70 'Bropleh [Minister of Culture] to Face Legislative Inquest on Kendeja School Project').

If solid structures are not put in place now to safeguard present works of art currently being created on the continent by African artists and craftsmen, what will be done with the 600 pieces currently on exhibit at the British Museum, not to mention the 200,000 pieces in the Museum's warehouse if they were brought back on the continent? What about the 580 pieces in the Ethnology Museum in Berlin; or 400 pieces in the Field Museum, Chicago; and the Art Institute of Chicago that has 20 pieces?

Thanks to countries such as France, Italy and Germany for returning some of these artifacts to Nigeria, Ethiopia and Zimbabwe. From all indications, it is known that very good care is being taken of the pieces. Why? It is because the countries concerned missed those precious pieces for a very long time, and one would only develop love for something that one misses, in the case of these priceless artifacts created by masters of African art many, many years ago. Another big thanks to Germany again for retuning the “Stone Alligator” piece to Liberia! But for now, let the rest of the pieces remain where they have been all along --- their 'second home' --- until their actual homelands can develop a genuine and substantial appreciation for those works, the new ones and the great masters who created them.

A. Leslie Lumeh is the founder and executive director of Art of the Heart Gallery, Liberia's first post-war art gallery. He was recently appointed Arterial Network Country Representative to Liberia. Among other capacities, he serves as resident cartoonist at the Daily Observer.

This article was originally published in the Daily Observer in print and online at www.liberianobserver.com. Copyright Liberian Observer - All Rights Reserved.