Dr. Charlotte Joy specializes in the politics of Heritage Management. She did her Ph.D. at the University College Of London and her postdoctoral research at the Museum of Archaeology and Anthropology, University Of Cambridge. (www.gold.ac.uk/anthropology/staff/joy-charlotte)

ABOUT THE TRACK 1897 BY MONDAY MIDNITE

 

1897 is not just another rap song. It's not just another ideological song. It's a song that evokes the most tragic event in the history of my people. A song intended to officially launch the genesis of my campaign for the return of the traditional and historical artifacts that the British looted from Benin in 1897.

 

My fundamental aim is to ensure that a huge and significant chunk of the recorded history of my people is not lost forever.

 

In that memorable year 1897, one of the most nefarious and gruesome terrorist attacks in human history took place in my beloved city of birth, BENIN CITY. My ancestors… men, women, and children were brutally and mercilessly mauled down in their thousands by the government forces of GREAT BRITAIN. They then set the city ablaze, ransacked our King's palace, and looted thousands of artworks that represent the very core of our cultural, traditional, historical, and religious existence as a people.

 

Back then, while Europeans recorded their major events for posterity in Longhand, pictures, hieroglyphics, etc; my ancestors carved our major events in ivory and wood. My ancestors cast ours in bronze. To fully comprehend the magnitude of the importance of what the looted artifacts mean to my people and the reason my passion to campaign for their return is deeply aroused, I kindly urge you to imagine the following scenario for just five minutes:

 

Imagine that hundreds of superiorly armed strangers from a far and distant land enter the United States and loot everything in the library of congress; enters Britain and Europe and clean out everything in every library; and then kill nearly everyone who has firsthand knowledge of the important historical records kept in those libraries. Imagine that one hundred years pass by and a totally different language and method of recording events established by the said superiorly armed strangers is now deeply rooted in these societies. Imagine that there are probably less than a hundred geriatrics alive in the United States, Britain, and Europe who may be able to translate their looted records into the now fully established new language and method of recording events. Imagine what it would mean to their present and future generations if the loots were to be returned before their capable but ailing geriatric translators dies out. A huge and significant part of their history would be completely obliterated forever, right?

 

Finally, please come on down to reality from the land of your imagination and think about my people a little bit. Please, think about the fact that we the children of Benin don't have to imagine it. We don't have to imagine it because we are living it. It's our reality. And it's been like that for well over a hundred years.

 

Innumerable times, my people's humble plea to the British Government for the return of the looted works of arts has been met with resolute rejection.

 

The International Council of Museums (ICOM) passed a resolution in London in 1983 on the return of cultural properties to their countries of origin pointing out the moral rights of people to recover significant elements of their heritage dispersed as a consequence of colonial or foreign occupation.

 

The General Assembly of the United Nations has also passed numerous resolutions emphasizing the rights of people to recover such artifacts, but the British government arrogantly refused to comply in the case of the looted Benin artifacts.

 

Folks, my people are in danger of not ever knowing what our ancestors were trying to convey to us in those carvings and castings as there may soon be no one left amongst our traditional intellectuals who can transcribe our ancestors' uniquely recorded historical events in IVORY, WOOD, and BRONZE into today's method of writing for the consumption of the present and future generations.

 

That is why it is so urgently important for all Edolites, for all Nigerians, for all Africans, as well as all good and justice-loving people across the world to join hands together with me in this objective, honorable and equitable campaign for the return of the looted artifacts before it’s too late. Thank you.

 

Monday Midnite (2007)

​

​

​

​

1897 RESTITUTION: WHY GOVERNOR OBASEKI MUST URGENTLY APOLOGIZE TO OUR UKU AKPOLOKPOLO OBA EWUARE 11

 

On my way to Poland with my family for this year's Spring Break, I stopped over for a night and a day in Hamburg to see the final exhibition of some of the looted Benin Artifacts at Hamburg's Museum of Ethnology. Although my 1897 campaign music/video for the return of our looted artifacts features in the ongoing exhibition, it was the opportunity to finally see some of the artifacts whose return to Benin I've fought so hard for over the years that elated me the most. 

 

And being around those exquisitely beautiful and ingenious works of art by my ancestors stirred something in me. I was overwhelmed and in total awe of their magnificence.

 

The Director of the Museum, Dr. Barbara Plankensteiner, took time out from her busy schedule to host us. And during our lengthy discussion about Germany's proposed restitution happening later this year, details unfolded as to the many difficulties that would plague the returned artifacts if not expeditiously rectified. 

 

The toughest huddle is the disagreement between our great OBA EWUARE 11 and GOVERNOR OBASEKI over the ownership of the artifacts and where they will dwell when returned. This disagreement has already created a battle between two powerful opposing bodies that might, at best, render it impossible for the artifacts to enjoy a peaceful return and, at worst, discourage the return of the artifacts altogether from some corners of the globe. 

 

The OBA wants the artifacts returned to the palace museum-the BENIN ROYAL MUSEUM, while Governor Obaseki desires the objects to have a home in the EDO MUSEUM OF WEST AFRICAN ARTS-a collaborative project led by the Legacy Restoration Trust, the British Museum, and Adjaye Associates, the Benin Dialogue Group, and the Edo State Government.

 

I have researched the plans of the latter. They are magnificent, applaudable, and progressive-minded. 

 

However, the Governor is dead wrong in the ways and manners he's going about it. 

 

Oba is the custodian of the Benin artifacts. Any form of negotiations or plans regarding the artifacts, no matter how perfect they may be, must have the Oba's seal of approval on them. Any backdoor dealing will be fruitless, period. 

 

Speaking as one who has been campaigning passionately for the return of the looted artifacts for more than a decade...and as one whose music is internationally acclaimed as the sound-track of the campaign; I here-by appeal to Governor Obaseki to offer his sincere apology to our great OBA EWUARE 11 and do whatever it takes to get the Oba's approval for his truly laudable plans for the artifacts. 

 

The people of Benin, current and future generations, will miss out on the enormous cultural, educational, and economic opportunities that the EDO MUSEUM OF WEST AFRICAN ARTS will provide if Governor Obaseki is unwilling to go about this the RIGHT WAY. 

 

Monday Midnite (24/05/2022)

​

​

​

​