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Spectator
09-07-2025
- Politics
- Spectator
Museums like the V&A shouldn't be allowed to return ‘looted' treasures
Henry Cole, the first director of what would become the Victoria and Albert Museum (V&A), could never have imagined that in his place would follow a man who seems determined to rail against the safeguards that have helped keep the museum's collection intact. But this, sadly, appears to be the task Tristram Hunt is committed to. Hunt knew the law before he took the job Hunt, director of the V&A since 2017, has declared the 1983 National Heritage Act which prevents him from returning artefacts to their country of origin, to be 'outdated and infantilising'. In fact, it is a key reason why collections, including the V&A's, have been maintained. Britain is home to several thousand museums. Most, subject to the odd deed of trust and their constitutional obligations, are free to do as they please with the items under their care. But a handful are considered of such national importance that they are protected in law. Acts of Parliament such as the National Heritage Act, the Museums and Galleries Act 1992, and the British Museum Act 1963 strictly limit disposal of objects except in rare and carefully defined circumstances (none of which include the political motivations of a director). Hunt appears to think that the law that prevents him from casting aside the V&A's long history, and 'return(ing)' items, is not fit for purpose. Among the treasures mentioned by Hunt during his speech at the University of Cambridge's Global Humanities Network last month are Tippoo's Tiger, a wooden tiger made for Tipu, Sultan of Mysore, and an Asante crown taken from Ghana. He is seeking an amendment to the law which would give museum trustees 'autonomy' over the fate of such items. Conspicuously absent from this debate is any real reflection on the role that the claimant countries themselves play in these negotiations, and what that says about their commitment to contested objects. In 2007, Ethiopia lodged a formal restitution claim for hundreds of objects now residing in the V&A, including a crown and gold chalice taken by the British in 1872. The request was denied due to the laws prohibiting restitution from the V&A. But after Hunt became director in 2017, a possible workaround was put forward: the ambassador was informed that 'the speediest way, if Ethiopia wanted to have these items on display, is a long-term loan.' This arrangement, first hinted at by Hunt in 2018, would have allowed the objects to be sent to Ethiopia on a long term or indefinite loan with an expectation that the arrangement would be renewed ad infinitum. Ethiopia refused to play ball. 'The Ethiopian government, for perfectly understandable political reasons, took the view that…'You offering to lend stuff you stole from us' wasn't politically viable so we've reached a kind of impasse with these objects,' Hunt said. Other countries have been more accommodating. Last year a number of Ghanian objects were sent to Kumasi from the V&A for display – an arrangement which will see the objects legally protected (from damage, loss, or sale), while permitting display in a country which values them. A paper I co-authored for Policy Exchange earlier this year with Sir Trevor Phillips found that items returned unconditionally are often at serious risk. Benin Bronzes returned by museums across the world have disappeared into private collections. Some bronzes even seem to have gone missing from museums in Lagos and Benin City. Their fate remains unknown, but the story offers a stark reminder of the dangers of transferring artefacts into the ownership of other countries without question. So why is a loan unacceptable to the Ethiopian government? If Ethiopia truly wishes to display these objects for public benefit, why reject a loan that guarantees just that? Their insistence on legal ownership – rather than public display – rather weakens the moral force of their claim. The V&A is simply too historically significant to have its collection held hostage to the whims of a single, self-styled visionary. Hunt knew the law before he took the job. If he was so determined to spend his days dispatching artefacts abroad, there was no shortage of museums that would have indulged him. Instead, he accepted stewardship of one of England's great civic treasures – the first museum in the world to fling open its doors to the masses and truly democratise visual education. Cole famously installed gas lamps so that working men and women could visit after dark, helping to break the aristocratic stranglehold on art and culture. Hunt risks undoing that work: gutting the V&A of its international collections and ensuring that the experience of world history is once again a privilege reserved for those who can afford the airfare.
The Star
18-05-2025
- Business
- The Star
Law to streamline, regulate museums to be tabled by year-end, says minister
KUALA LUMPUR: The National Unity Ministry will table a specific Act by the end of this year to regulate the setting up of museums nationwide. Its Minister Datuk Aaron Ago Dagang said the Act will provide a clear legal framework for museums and to ensure these are managed effectively and sustainably. "The Act will hopefully be tabled in November or December at Dewan Rakyat. "We need to hold a lot of engagements with the states too, because in Malaysia we have many state museums as well as private museums. We have 22 federal museums," he told a press conference after officiating the Malaysia International Museum Day seminar 2025 themed "Future of Museums in Rapidly Changing Communities" here on Sunday (May 18). Aaron said apart from regulating museums in Malaysia, the Act will ensure that the museums are built for their intended purpose. "Some museums are not museums; these are sometimes warehouses. "We need to adhere to international standards," he said. Department of Museums Malaysia director-general and International Council of Museums Malaysia chair Datuk Kamarul Baharin A. Kasim said the Act will also include the establishment of museum councils to advise on policies, and ensuring museums do not conflict with local community norms. "Some states like Penang and Sarawak have their own enactments, so the Act will streamline all these. "Malaysia had the Antiquities Act which was abolished after the government introduced the National Heritage Act in 2006. "The Antiquities Act focused more on nature as well as tangible and intangible monuments and sites. "The new Act will focus on museum policy control, and establishing a new rating system for museums," said Kamarul. Earlier in his speech, Aaron said Malaysia is home to 232 museums, encompassing federal level museums, state-run institutions, private collections, and personal museums. "As we celebrate this rich tapestry of museums, we must also acknowledge the challenges they face. Rapid societal changes, technological advancements, and the forces of globalisation present new hurdles for these institutions. The key question now is: how can museums stay relevant in this ever-evolving landscape?"
The Star
07-05-2025
- Business
- The Star
Vivekananda Ashram land zoned as ‘main commercial' under KL local plan
The public can check the draft KLLP 2040 at Menara DBKL 1 until May 9. — AZLINA ABDULLAH/The Star THE Brickfields area where the Vivekananda Ashram is located is still zoned as 'main commercial' under the revised draft of the Kuala Lumpur Local Plan (KLLP) 2040. The Save Vivekananda Ashram Brickfields (SVAB) action group expressed its disappointment that its request for the ashram area to be zoned as a public community facility was not taken into account when the revised plan was drafted. Lawyer Deva Kunjari Sambanthan, who is among those advocating for the iconic landmark's preservation, said the group was worried that the land where the ashram is sited could be designated for development in the future. 'The area is zoned as 'main commercial', the second highest in terms of allowed density. 'Although Kuala Lumpur City Hall (DBKL) officers responded to our queries saying that the site will be protected since the Vivekananda Ashram is classified as a 'Category 1 Heritage Building' under the National Heritage Act (Act 645), we are not convinced. 'It should be maintained as a public community facility zone so that no development will take place in that area,' she said. Lucky Garden resident P. Tamilwanan said they were concerned about the possibility of heritage buildings being degazetted. 'We do not feel comfortable about this. We do not want to allow any room for development to take place,' he said. DBKL is holding open-day sessions until May 9 from 9.30am to 4.30pm on the KLLP 2040 draft. Kuala Lumpur mayor Datuk Seri Maimunah Mohd Sharif said, 'We have gone through the necessary steps, including going through public participation and holding hearings. 'The Prime Minister has also been briefed about the plan. 'We plan to launch and gazette the KLLP 2040 this month,' she told StarMetro. 'This open day is to inform the public about the draft plan and its changes. 'The public can see if their feedback was taken into consideration in the draft plan as well as the reasons why certain changes were not incorporated. 'We want to increase DBKL's transparency and accountability,' Maimunah added. Residential groups, architects and town planners as well as other stakeholders had come on the first day to see the finalised plan. Some accepted the changes of the finalised plan while others expressed disappointment. Lembah Pantai Federal Territories Residents Representative Council (MPPWP) sub-zone 3 secretary Michelles Foo said the draft plan took part of their feedback into consideration. 'I understand that the authorities cannot take into account all feedback from residents but I can see that some of our suggestions have been incorporated into the draft plan,' she said. 'For example, one of the areas in Kampung Kerinchi was earmarked for development in the previous draft but DBKL changed the land use to public community facility,' she added. Former Kuala Lumpur mayor Datuk Seri Nor Hisham Ahmad Dahlan, who was also present at the open day, said more efforts should be made to develop city parks. 'We should have more parks, like Hyde Park in London, to make Kuala Lumpur a liveable city. 'A task force must be established to manage development in the city,' he said. Nor Hisham also suggested Bandar Malaysia be constructed between the Selangor and Perak borders.
Mail & Guardian
27-04-2025
- Business
- Mail & Guardian
In the Shadow of the Gallery: Art, power and the fight for Johannesburg's soul
Hanging in the balance: Years of neglect and mismanagement have led to the decay of the Johannesburg Art Gallery building in Joubert Park, threatening its priceless collection. (Photo by Gallo Images/Fani Mahuntsi) Earlier this year, the Mail & Guardian carried Then, days ago, on April Fool's Day no less, Currency published an article headlined: On 27 March, a 'JAG stakeholder engagement' meeting was held with artists, heritage organisations, and civic bodies. The Johannesburg Development Agency (JDA) presented its plan, led by Riaan Hollenbach of Lamela Consulting, in what felt more like a public perception management exercise than genuine consultation. The JDA will oversee the execution of urban development projects, including logistics, compliance and resources, and Lamela has reportedly been tasked with initiating renovations. The patchwork plan to revive the deteriorating gallery in crime-ridden Joubert Park included a temporary relocation of the JAG collection to Ditsong, the Standard Bank and Absa buildings, or Newtown, amid ongoing wrangling. The timeline for this seems as wobbly as the building itself, with regulatory approvals and site preparation set for September, followed by infrastructure upgrades, and an operational launch in November next year. The Johannesburg Development Agency detailed its planned process for relocating JAG's important collection and restoring the historic Joubert Park precinct. It outlined the roles of national and provincial bodies and its own team of heritage experts who are tasked with balancing preservation and innovation. But achieving this balance is apparently easier said than done. A century-old institution, JAG is facing an existential crisis. Protected under the National Heritage Act, and home to a priceless collection, it is a national treasure and cultural pillar — central to the city's artistic identity — yet also under constant threat from theft, neglect and decay, due to ongoing mismanagement. Many institutions, including Friends of JAG and the Johannesburg Heritage Foundation, consider themselves stakeholders in its fate. But while parts of the proposed future seem promising, it is precisely because of the long-standing failures that the gallery's troubled past can't simply be brushed aside. One afternoon, as Khwezi Gule, JAG's curator, drove me around the surrounding precinct, he shared his thoughts on the interconnectedness of the gallery's history with the city's ongoing struggles. 'The weight of history is a burden I carry every day when I step into these spaces,' Gule revealed, visibly wounded by his own words. 'How do you reconcile with these objects — some deeply offensive — and yet, I'm the one tasked with their care and preservation?' he pondered. This, for Gule, isn't just a job, it's a daily negotiation with history. For him, the challenge for institutions like JAG lies in undoing centuries of oppression embedded in both the architecture and the artifacts. 'To completely transform these spaces, to tear them down and rebuild them anew, is something people aren't ready to entertain,' he explains. As we drove on, ducking taxis and swerving to avoid jaywalkers, Gule's frustration became palpable. The Johannesburg Art Gallery building. (Photo by Gallo Images/Fani Mahuntsi) 'These spaces were not made for us, and yet we are made to occupy them,' he said, pointing out the fundamental contradiction of working in spaces designed to exclude the very people who are tasked with reshaping them. As we spoke, it became clear that the true decolonisation of these spaces cannot simply be about representation or inclusion. It requires a complete rethinking of how art is produced, consumed and interpreted. Many of the works in JAG's collection were acquired under colonial rule and they reflect a history of exploitation. 'These objects come from a time of violence,' Gule reflects, 'and yet, they remain with us.' For him, as curator, this presents a paradox: 'How do you reconcile with that, when these objects continue to represent a violent history, yet you're responsible for them?' The dilemma of what to do with them is tangled up in the broader conversation on reparations, because this isn't just about restoring buildings or returning looted treasures, it's about confronting the economic and social injustices that still stem from colonial violence. Step outside JAG, and you're hit with the raw, unvarnished reality of Johannesburg. Joubert Park, once a space for privileged white people, is a broken, neglected corner of the city. It was never meant for black people, but after decades of disinvestment, it's a shadow of what it could have been — a stark reminder of the failures of urban planning and justice. The city's plans for JAG's restoration might raise questions but the vision is clear — rejuvenation, not just for the building, but for the surrounding area too. 'This is an opportunity to redefine what it means to have a truly public cultural institution in Johannesburg,' said Lamela Consulting's Hollenbach, who was not afraid to admit the renovation team was working on gentrification. As Gule warned, the true test will lie in whether these changes uplift local communities or simply maintain the status quo. The restoration is an arduous and complex project that, despite the challenges, including frustrations over mismanagement and the slow progress, has managed to hold the public's interest and a mood of cautious optimism. This is why it would have been great if there had been more transparency and inclusivity in the consultation process. As one participant at the meeting stated, 'We want a gallery that doesn't just exist but thrives — and that can only happen if everyone who lives and works in this city is genuinely part of its future.' Throughout the meeting, participants kept stressing the need for a radical rethinking, not only of the gallery's physical structure but the value of its precious collection and its function within broader society. 'Each of these must be temporarily separated and reimagined independently before they can be brought together to serve future generations,' one speaker emphasised. As Gule had similarly noted in our conversation days prior, 'We are not just curators of art; we are curators of histories, legacies and futures.' The Johannesburg Art Gallery. (Photo by Gallo Images/Fani Mahuntsi) Despite a rather impressive presentation, questions about the project's inclusivity, particularly regarding the involvement of younger artists in the process, were not fully addressed. The lack of younger voices at the meeting was palpable, with many of the attendees established figures in the arts. A more transgenerational and transdisciplinary dialogue might be key to ensuring the success of the project, with one stakeholder remarking, 'We need to make sure we don't push out the very community we are trying to build this gallery for.' Digital innovation, from a new archive to hybrid programming, was pitched as a way to extend JAG's reach beyond its physical walls. While that felt timely, some ideas — like promoting gentrification — missed the mark. Even when the 'African Phoenix' idea emerged, it lacked the self-awareness that, to rise from the ashes, it first has to burn. This is the weight of the work at hand. JAG's future, rooted in South Africa's history of urban erasure and systemic inequalities, lies at the intersection of reclamation and the persistent harshness of the present. In Gule's words, 'Decolonisation isn't about undoing history, it's about constructing something that truly reflects and serves the people who've always been left behind.' JAG's restoration is about more than just reviving a colonial building. It's about manifesting a vision for a future where African cultural production is reshaped to serve those whose voices have been silenced for too long. The test is whether the leadership can transform lofty promises into something tangible or if it will remain another hollow hallucination.
