The journey that helped save Nigeria's art for the nation

The Nigerian National Museum, located in Lagos, is a significant institution that houses a vast collection of cultural artifacts. However, it often feels like a neglected treasure, as many people do not visit it. This situation arises from the museum's colonial roots, where the concept of a museum was introduced by foreign powers who took valuable items from Nigeria and displayed them in their own countries. Olugbile Holloway, who recently took charge of the museum, is determined to change this narrative. He believes that the museum should not just be a static building filled with artifacts but should actively engage with the communities from which these items originated. He posed an important question: 'How organically African is this concept of a museum, or has this ideology been imposed on us? ' Mr. Holloway suggests that the traditional model of a museum, with its formal structure and display of artifacts, may not resonate with the people of Nigeria. Established in 1957, just three years before Nigeria gained independence, the museum contains a rich collection of items, including Ife bronze heads, Benin brass plaques, and various masks and costumes from different ethnic groups. However, there is an irony in Mr. Holloway's position; his role exists because the colonial government had previously sent individuals to collect these artifacts from across Nigeria. Some of these items might have been lost to theft or destruction by individuals who viewed them as pagan relics. In 1967, two Americans, Charlie Cushman and Herbert Cole, were tasked with gathering cultural artifacts for the museum. Their journey took them through small villages in southeastern Nigeria, where they encountered a wealth of traditional art. Mr. Cushman, now 90 years old, recalls the experience fondly, stating, 'It was an incredible opportunity to spend two weeks exploring small enclaves and villages. ' During their travels, they discovered that many villagers were willing to part with masks and other objects that had been in their families for generations. Mr. Cole, now 89, noted that he could purchase masks for just a few dollars, while they would fetch hundreds in Europe. In the Igbo villages, the monetary value of these items was not the primary concern; they were used in ceremonies and celebrations, and when they were no longer needed, villagers were happy to sell them at low prices. Mr. Cushman meticulously documented their experiences in journals, capturing the ceremonies they witnessed and the people they met. He also faced the challenge of convincing some Christian converts not to destroy artifacts they deemed evil. One encounter with a school headmaster, Mr. Akazi, highlighted this struggle. Mr. Akazi had burned ancestral figures, believing they were evil influences. Mr. Cole attempted to persuade him to donate the items to the museum instead of destroying them, arguing that preserving them would benefit both parties. Although Mr. Akazi agreed, he still could not appreciate their cultural significance, stating, 'For me, these things are ugly and connected to evil. They can never be art for me. ' This situation reminded me of my own experiences taking friends to the British Museum in London to view Nigerian art. Some of my guests, who were devout Christians, refused to take photos with the artifacts, fearing they might be associating with demonic items. While we laughed about it, their concerns were genuine. For them, these objects represented more than art; they were tied to their beliefs. The mission of Mr. Cushman and Mr. Cole was initiated by Kenneth C Murray, a British colonial art teacher who played a crucial role in Nigeria's museum history. He was invited to Nigeria to help establish art education and museums. Murray believed that understanding contemporary art required knowledge of traditional art, but there were no collections available for study. He advocated for legislation to prevent the export of Nigerian artifacts and to create museums. This led to the establishment of the Nigerian Antiquities Service in 1943, with Murray as its first director. He was instrumental in founding Nigeria's first museums in Esie, Jos, and Ife. Mr. Cole, who was studying African art at Columbia University, was assigned to collect artwork from southeastern Nigeria for the Lagos museum. He successfully gathered over 400 pieces, which were later transported to various museums. Mr. Cushman, who had studied at Yale and Stanford, chose to travel the world instead of working in finance. His journey led him to Nigeria, where he reconnected with Mr. Cole and joined him on this important mission. Unfortunately, Mr. Cole lost all his records during the Nigerian Civil War, which began in 1967. He was heartbroken to learn that some of the artifacts he had collected were destroyed. However, much of what they gathered has survived and is now under the care of Mr. Holloway, who aims to create a more engaging museum experience for Nigerians. He believes that the objects should be displayed in a way that reflects their original cultural significance. He stated, 'We have many museums, but most people do not want to visit them because they feel lifeless. To us, these objects are sacred.