This is a timely and current (some of the information is not a year old) book about racism, imperialism, and the legacies of an expedition/retaliatory strike of the British against what was the African Kingdom of Benin in 1897—and, of course, the actual expedition/retaliatory British action in 1897. In particular, it is focused on the exquisite Benin Bronzes that were looted by the British and then dispersed to end up in many places, including in the British Museum and the quest to return them to the Benin people.

This book is not just a crusade to bring the loot back to the Benin people who are largely in what is today Nigeria. It shows how the issues are complicated. It is not realistic to expect all of the museums and private collectors of the world to empty their collections and return all pieces to their places of origin. Let’s face it, humans, of any color, religion or political creed are possessive and greedy. It is not going to happen. Even the Benin people don’t agree how much, when, or how the pieces should be returned or where they should reside. Nor is it as simple as saying just return the pieces. Many institutions have procedures or business by-laws that cannot be violated without serious legal repercussions or disruptions to the foundation of the institution. In the case of the British Museum, an act of Parliament is involved. But it can be done. It was done in the case of returning items to Jewish families that were taken during the Holocaust.

Race is a sensitive issue. There is no question that race is a major subject in this work. So comes the question, what is the race of the person who wrote this book? Should it matter, does it matter? I think it does though it isn’t made a big deal in this book. It is clear from early on that the person writing this book isn’t a person of Benin descent, but someone British. If readers don’t pick up on things earlier, it is clearly stated later when the writer speaks of visiting Benin and mentioned to be one of the only white people on the flight. Would a person of Benin descent be able to get this book published in English?

The writer has been very critical of the British Empire and the people that made up the British Empire. People are distinguished as being different, with different attitudes and different behaviors, not just one mold fits all. The Benin kingdom is not depicted in just the golden halo of a perfect place, but people with different motivations and sometimes conflicting actions. The writer also explores reports of human sacrifice and the decaying nature of the Benin kingdom. In other words, people and countries are not all evil or good but the very contradictory and very human.

Some would question is this book or issue important when so many other incidents are happening that are more urgent, more vital, more literally life and death. Yes, it is important. It is important because it deals with the legacy of horrendous actions and attitudes that continue to affect people and society today. It is important because it deals with museums and institutions that physically and, perhaps, subconsciously, represent values and the way a community presents itself to itself and to others. Think about it. When you visit another area, either in your own country or another, sightseeing almost always includes museums. School field trips are to museums to learn about history and society. What you see and read on the placards form an impression because the source is viewed as an authority.

Museums, usually, are conservative. It usually takes time for things, people and events to garner enough of a reputation for them to be considered important enough to be included in a museum or a collection. But things can change and do change. Museums have begun to put new narratives up that include the pov of the other side, to acknowledge how devastating and violent wars, incursions, or what ever word used to describe an invasion were. This is important, not to just acknowledge the real violence and damage of the past so we can come to terms with it—and not just this one incident in this one place and time but many countries and people did to many others throughout time—but to move forward and also educate people that things are complicated and reflect our hopefully changing values.

Two things will stick in my mind long after I have moved onto other books. One is how the British actions seemed to have made an indelible mark on the Benin people, how many people knew exactly what the writer was speaking about and knew names, etc. On the other hand, how little it affected the British people. British people, in general, have not remembered this event. They know the British empire took military action against countries, including African countries, but don’t recognize this particular one. They might not even recognize the title Benin Bronzes. How true is this of big, powerful empires, countries, business and people? They don’t usually see the effects in smaller cases.

The other is the impact of Benin people viewing the Bronzes in the British Museum. Some were profoundly moved and brought to tears, feeling that their relatives were imprisoned. They felt anger and sadness. Others felt immense pride. These were cultural ambassadors of their society. They are in one of the most well-known museums in the world and millions of people can see their cultural achievements. It is an argument against those that claim Africans have no or had no civilization or artistic accomplishments. The ironic thing is that pieces can go for millions of dollars.

Another thing I think worth noting is the author mentions how racial attitudes changed during the 1800s, becoming more rigid and hierarchical. Many British people became more racists. This has been noted in other works about racist attitudes in the British Empire, this is not just the thinking of one writer. This is important to Britain, the U.S. and other places. Racism can grow and become more prevalent and more rigid. It can become worse. But it also can get better. A warning and a piece of optimism.

There is too much biographical information regarding the many individuals involved in the British action in 1897 and of some of those involved in dispersing the artifacts. Some is useful and even needed but I thought there was too much, particularly when it wasn’t then used to make some sort of correlation or something about class and behavior. It just seemed if that much information was included it was for some sort of conclusion or theory.

Thank you to Netgalley and the publisher for an ARC in exchange for an honest opinion.

“How do you think your ancestors got these?” asks Killmonger, “Do you think they paid a fair price? Or did they take it, like they took everything else?” (from Black Panther, quoted in Loot)

In Loot, Barnaby Phillips tells the story of the British theft in 1897 of thousands of significant and sacred artworks and artifacts from the Oba’s palace in the City of Benin (now in present day Nigeria). And where are these objects now? In countless private and public collections in Britain and Europe and the US, and most notably, in the British Museum in London.

In Loot, Phillips outlines Britain’s actions leading up to and following from this event. Collectively referred to as “the Benin Bronzes”, the items include bronze and brass sculptures and plaques, carved tusks and other ivory carvings, and more.

Phillips brings readers from the rampant colonialism of nineteenth century right up to today where there is much talk but little action with regards to the restitution or repatriation of these items. Phillips speaks eloquently of how the role and goals of museums have been intertwined with the colonial actions of the nations in which they exist. Thanks to Phillips, I’ll never look at a museum the same way again.

I did find much of Loot focused on Britain. While some Nigerian voices were included, I would have liked to have heard more. Nonetheless, Loot was a powerful read and it’s exactly why I read non-fiction: it enlightened, informed, and ultimately, challenged my thinking. And this was a topic I was personally interested in as I grew up with a grandfather and father who were deeply interested in African art. It was for this reason that I was thrilled to see this appear on NetGalley and I’m thankful to have been able to read it. I’ll be thinking about it for a long time.

Thanks to NetGalley and Oneworld Publications for this eARC in exchange for an honest review.

Journalist Barnaby Phillips' Loot: Britain and the Benin Bronzes takes us through a history of brutal colonial thievery, cultural significance and practices, art forms and the growing movement towards returning the plundered cultural wealth to their places of creation. He traces the rise of the working of bronze in Benin kingdom and how the pieces were displayed as well as how the practice and skill was passed down.

To tell the history of the Benin Bronzes and how so many of them ended up in Britain and Europe, Phillip's uses historical records, letters, journal entries, newspaper articles, and interviews that trace the rise and fall of the kingdom, the changing faces of trade, the introduction of religion, the carving up of the region by European imperialism, and the exodus of the art works that were central to the kingdom and its people.

He also examines the many skirmishes, battles, and other military activities that occurred, the changing of power dynamics, the need to squash any inkling on the part of the African leaders and their people to curtail the interlopers' presence and dominance in their lands. It is clear from many of the journal entries of the soldiers, sailors, political emissaries, governors etc., how callously and with utmost entitlement the interlopers viewed the land, people, and resources.

Loot also looks at the stories that were spun by British officials to legitimize their callous invasion of Benin, that nay-sayed the origin of the Benin Bronzes and the lascivious tales created in order to market and sell the cultural treasures that they had stolen, the interactions and interpretation of the creation of the Bronzes: their origins and influences.

A deep and needed examination of a history interrupted, sacred items taken and sold, separated from the people to whom these represent their culture and community, and the ongoing fight to see them returned.

The book is interesting and its subject matter couldn't be more talked about today. However, the formatting of the ebook was virtually unreadable. I assume the publisher uploaded it as a PDF, not a MOBI file, so it doesn't convert well to Kindle. NetGalley must know this already, since it's a pretty common complaint, but isn't interested in doing anything about it, I'm afraid. I'm sorry, but I'm not sacrificing my eyesight and mental health for a book.

Loot by Barnaby Phillips
Disclaimer: ARC via Netgalley.
One of the results of colonialism is the taking of important objects of art or history from their original country or area of origin. So, if you want to see the famous bust of Nefertiti, you have to go to Berlin, despite how completely it seems to stand for Ancient Egypt. Of course, Egypt wants it back; of course the Neues Museum basically says no. Perhaps, the bust isn’t the best way to start this review as one could argue that the transfer was far more legal than the stealing of Benin Bronzes by the English, but it raises the same question, a question that I have difficultly answering – what should happen to artifacts that were taken or stolen, should they be returned. On one hand, yes, you want to shout, of course. But part of me will always remember how excited and happy my student was to see an Egyptian artifact at the Penn Museum. The artifact had the name of a pharaoh we had been reading about. I have never seen a student so excited. And there is no way that a English class at a community college is going to get a funded trip to Egypt. Perhaps items of great, cultural worldly value should be held in common – of course this means sharing the 200 plus editions of the first Folio of Shakespeare’s works in all country as well as say private ownership for some things should not be an option.
Thankfully, Phillips book is not about such an total question. Phillips concerns himself with the Benin Bronzes and other cultural artifacts, which were stolen from the Kingdom of Benin (today part of Nigeria) by the British. The book is part art history, history, and travelogue as well as an examination of the debate and struggle to reclaim what was stolen. (Note: the Republic of Benin is a difficult country.)
If you have seen Marvel’s Black Panther, you have seen a Benin Bronze; it’s in the scene with Killmonger in the museum, though Killmonger declares the work is from Wakanda. While this opens a host of questions including why attribute the work of art to a fictional kingdom, especially when those white people who first saw it claimed it was done by Egyptians or Europeans, it does tie into the questions that Phillips is examining. (It is interesting to note that the Dora Milaje are based on the Kingdom of Dahomey’s, now the Republic of Benin, all woman regiment).
Philips starts with the British Museum and the arrival of Prince Gregory Akenzua to see the works. This included a trip to the stores to see those items that were not on display. We also get Benin artist Victor Ehikhamenor’s experience viewing the items on display. From there, Phillips takes the reader to how the Bronzes and other works most likely were made as well as the cultural and religious importance of the items. We then travel back in history to the first meeting between Europe and Benin as well as the events leading up to and including the destruction of the kingdom at the hands of the British. The reader is not simply presented with the debate over where the artworks should be, the reader is presented with the complete context and history of the debate.
While Phillips appears to side with Nigeria and Benin (and how could you not), he does present a very even handed approach. He doesn’t just look at the museums which house the looted works, but also those works that remained in private hands, even in dealing with descendants of those looters. Some of these descendants have returned the works, some wished to but put finically stability of the family first (and considering the current state of the world, I’m not sure how moral I would be either). He looks at the influence that the quest for return of the works has had on the works of Nigerian artists, in particular film makers as well. In tackling the question of safety of the looted works if returned to Nigeria, he does relate the stealing of cultural works in Nigeria itself; however, he also points out and details such robbery occurring in European museums, questioning exactly what is meant by safe. He looks at the impact of films like Black Panther on the question as well as the impact of the recent protests.
Phillips’ writing is engrossing and he is an excellent story teller. He possess an ability to look at the issue from various views and points, and to let the reader experience that view with him. The book is a great read about a very important issue and event.