The Benin Bronzes: Definition, Craftsmanship, Cultural Significance, and Repatriation Debate Essay

Definition and Craftsmanship of the Benin Bronzes

Benin bronzes are sculptures and plaques made by the Benin people in Africa centuries ago that were later looted. According to DW Documentary, the techniques used to create such works of art involved the lost-wax process (DW Documentary 8:14). The lost-wax technique involves pouring boiling metal into a mold made from a wax figure. The wax figure is heated and removed after the mold has been created (DW Documentary 8:14). Therefore, the approach that was used by the Benin people and is still applied by modern-day artists is unique.

Geographical Location of the Kingdom of Benin

The Benin Bronzes were made by the people who lived in the Kingdom of Benin, which existed from at least 1180 until 1897 (J. Draper 3:17). This is not actually the modern-day Republic of Benin (J. Draper 3:06). Nowadays, what used to be the Kingdom of Benin is modern-day Nigeria (J. Draper 3:17). The modern-day country Nigeria, where there was once the Kingdom of Benin, can be seen in Figure 1.

Perspectives from the DW Documentary on African Artefacts

Regarding the discussion of the Benin bronzes, the opinions vary. For instance, Prince Kum’a Ndumbe the Third, historian and Germanist, claims that “these ethnological museums are like prisons” because these people’s “soul was stolen and locked up in them” (DW Documentary 29:45). In contrast, Stefan Eisenhofer, a historian from Five Continents Museum in Munich says that German historians disagree with the hostage perspective because “they are objects that bring people together” and “these are ceremonial objects, they’re not just ornamental” (DW Documentary 29:54). Thus, there are two opposite perspectives regarding the position of the bronzes.

Artist Enotie Ogbebor’s Views on the Benin Bronzes in Exile

When it comes to the artist Enotie Ogbebor, the man would agree with the opinion that the looted sculptures and plaques are prisoners. According to the man, art plays an immense role in their culture, and “it’s a family work, it’s a hereditary work, the parents pass it to the children” (DW Documentary 8:36). Moreover, the artist accentuates that “it’s a pride to the Benin people” and “most times if [they] don’t do it, it’s like a part of [their] body is missing” (DW Documentary 8:39). Therefore, Ogbebor shows the audience that this art is not simply a visually appealing work. Still, it is a work with spiritual significance.

Biography and Analysis of a Selected Benin Bronze

Fig. 2 shows the Benin bronze Cockerel that was chosen for analysis.

Identification and Current Location of the Artefact

The Cockerel sculpture is currently located in the British Museum.

Visual Description and Motif Interpretation

Cockerel is a sculpture made using lost wax cast in brass in the 18th century. It is a brass sculpture that is naturalistically formed, with perforated lines representing the feathers and coral stones set into its eyes. According to J. Draper, “coral is said to be a prize from the god of the sea, and it’s always associated with royalty” (J. Draper 7:38). The motifs of the artifact can imply an appreciation of nature and animals.

Cultural Significance of the Artefact to the Kingdom of Benin

The artifact Cockerel can tell the viewers the importance of the animal kingdom to the Benin people. These people admired wild and domestic animals, with some symbolizing might and others symbolizing wealth. In this case, the chicken might have symbolized the wealth of the local tribe, focusing on the coral stones.

Reflection on Hegel’s Assertion Regarding African History

In this case, Wilhelm Hegel’s assertion that African people do not have a culture is wrong. This culture has its values, traditions, and art, which shows its uniqueness.

Debate on the Repatriation of the Benin Bronzes

Benin bronzes should be returned because they are indeed prisoners in the museums where they are held, despite their condition and popularity. As J. Draper pointed out, “Nigeria has been asking for them back since it won independence from Britain in the 1960s” (J. Draper 15:04). However, the only rationale of the British Museum to not give back the sculptures and plaques is that “it’ll open the floodgates and everyone will want their stuff back” (16:52 J. Draper). This is inhumane, considering the story of these objects being stolen and the village being burned down.

Works Cited

DW Documentary. “Africa’s Looted Art” [Video]. YouTube. Web.

J. Draper. “The London History Show: The Benin Plaques” [Video]. YouTube. Web.

The British Museum. “Cockerel.” Web.