A Blank Cheque to Plunder Nok Terra Cotta?
In his interview of January 27, 2008 with Richard Lacayo, “A Talk With: James Cuno”, Cuno, Director of the Art Institute of Chicago, makes many controversial statements. In the following, Kwame Opoku comments on a few of these points.
A Blank Cheque to Plunder Nok Terra Cotta?
In his interview of January 27, 2008 with Richard
Lacayo, “A Talk With: James Cuno”, Cuno, Director of
the Art Institute of Chicago, makes many
controversial statements. In the following, Kwame
Opoku comments on a few of these points.
“Anthony Appiah said something wonderful in his book
Cosmopolitanism. He says, Look we don’t know who
made these Nok sculptures, these ancient sculptures
that are found today in Nigeria. We don’t know if
they were made for royalty or for one’s ancestors or
on speculation. But what we know for sure is that
they weren’t made for Nigeria. Because at the time
there was no Nigeria.”
Does Cuno realize the implications of such a
statement if it were to be taken seriously? Is he
suggesting that the modern State of Nigeria has no
right to the archaeological findings on its own
territory? Who then has rights over the Nok findings
in Nigeria? Is he aware that there were Nigerians
before the present State of Nigeria was born at
Independence in 1960? Or does he have another date
of birth in mind?
If the date of birth of present modern States were
to be related to acquisition of rights to
archaeological findings, how many States would have
any rights since most of these findings relate to
objects created thousands of years ago?
What will happen to control over activities in the
areas where excavations take place? Who will keep
order in such areas or will it be a free for all,
leaving it to the strong to grab whatever they can?
One can imagine easily what chaos will ensue if
modern governments did not assert their authority
and control over archaeological excavations. Is Cuno
pleading for anarchical excavations?
Is Cuno aware that under the 1970 UNESCO Convention
on the Means of Prohibiting and Preventing the
Illicit Import, Export and Transfer of Ownership of
Cultural Property, a State such as Nigeria has the
duty “ to protect the cultural property existing
within its territory against the dangers of
theft,clandestine excavation,and illicit export?”
Moreover, Article 4 of this Covention provides that
: “The States Parties to this Convention recognize
that for the purpose of the Convention property
which belongs to the following categories forms part
of the cultural heritage of each State:
a. Cultural property created by the individual or
collective genius of nationals of the State
concerned, and cultural property of importance to
the State concerned created within the territory of
that State by foreign nationals or stateless persons
resident within such territory;
b. cultural property found within the national
territory;
c. cultural property acquired by archaeological,
ethnological or natural science missions, with the
consent of the competent authorities of the country
of origin of such property;
d. cultural property which has been the subject of a
freely agreed exchange;
e. cultural property received as a gift or purchased
legally with the consent of the competent
authorities of the country of origin of such
property.”
In view of the provisions of Article 4 how can
anybody dare to suggest that archaeological findings
made in Nigeria do not belong to the modern State of
Nigeria?
Cuno states that if certain objects are crucial to
the identity of Italy, then those objects should be
everywhere: “… if [these objects] are indeed crucial
to the identity of Italy, then as cultural diplomacy
you would want that material everywhere. You would
want Italy to be represented everywhere as an
important modern nation by virtue of its claimed
legacy from ancient Rome. You would want that
appreciated in Beijing, in Shanghai, in Mexico
City.”
How does this argument square with the usual
argument presented by the supporters of the
so-called universal museums that we must have these
cultural objects in one place, preferably in London,
Paris or New York? Cuno goes so far as to say that
Italians live not only in Italy but also in New York
and around the world and therefore Italian cultural
objects should be made available to them too. Is
there no limit to these absurd arguments presented
by respected museum directors? Nobody ever suggested
that Britain, France or the USA should make their
cultural objects available everywhere in the world
where their citizens live.