In a groundbreaking move, the Chrysler Museum in Norfolk, Virginia, recently repatriated a Bakor monolith to the Nigerian government. This marks the first successful return of such an artifact. The Bakor monoliths, known as “akwanshi,” are stone sculptures that symbolize ancient Nigerian ancestors. They hold spiritual significance in Nigeria’s Cross River State .
Due to colonization, thieves pilfered the majority of the artifacts and subsequently housed them in Western museums. The Chrysler Museum acquired its monolith in 2012 through a donation, unaware of its illicit origins. However, a visit by African art specialist Christopher Slogar raised concerns about its authenticity, prompting the museum to investigate further. The discovery of a photograph from 1961 confirmed that the monolith had been illegally trafficked.
Taking swift action, the Chrysler contacted the Nigerian Embassy in Washington, arranging for the monolith’s return. The Factum Foundation, which has been digitally recording and creating facsimiles of Bakor monoliths since 2016, offered to produce a replica for the museum. This initiative aimed to establish a new model for repatriation and showcase the potential of digital technologies in sharing objects
The complex process of creating the facsimile involves photogrammetry to create a 3D model. After that, they 3D print, mold, and cast in acrylic resin. Ferdinand Saumarez Smith, the director of projects in Africa at Factum Foundation, expressed the importance of digital recording in deterring theft and illegal sales of these artifacts. Factum Foundation could have produced the replica in basalt given more time.
The foundation plans to submit the Bakor monolith sites to UNESCO for World Heritage Site status. They are confident that they will provide them with better protection against deforestation-related damage. While the Chrysler Museum is still considering how to utilize the facsimile, it recognizes its educational value and intends to address the topics of monument function, looting, and repatriation. The museum aims to ensure transparency by clearly distinguishing the replica from the original in its galleries.
The successful repatriation of the Bakor monolith sets a significant precedent for future agreements, offering hope for the return of other cultural artifacts to their rightful places. As museums grapple with the decision of repatriation, the use of facsimiles may provide a compromise that allows for continued education and dialogue on cultural heritage while addressing the concerns of source communities.
