Kwame Opoku


The ‘disorder, revolt or revolution in Egypt’ doesn’t ‘change the nature of the debate on restitution nor does it provide any convincing excuse for the retentionists in the Western world’, says Kwame Opoku.

Ekpo Eyo’s ‘From Shrines to Showcases: Masterpieces of Nigerian Art’ – a book on the country’s myriad artistic works – is a ‘masterpiece in its own right’, writes Kwame Opuku. But while Eyo exhibits masterful knowledge of Nigeria’s rich gamut of artistic endeavour, the fact that so many of these works remain held outside of the country – seemingly not to be returned – is scandalous, Opuku concludes.


A new argument in ‘restitution discourse’ that the dispersal of cultural artefacts from their country of origin is a ‘process of democratisation’, enabling more people to view objects than would be possible if the items remained in their country of origin, is both flawed and ‘unwittingly dangerous’, writes Kwame Opoku. Moreover, despite historical misperception by ‘retention’ supporters, it is incorrect to claim that calls for repatriation are motivated by amateur cultural enthusiasts with more


The ‘tide of history is moving against the illegitimate detention of the cultural objects of others’, writes Kwame Opuku, putting the future of the ‘universal museums’ in jeopardy. Although it appears to serve a global audience, ‘A History of the World in 100 Objects’, a new programme produced by The British Museum and the BBC, is part of ‘frantic efforts’ to impress ‘the masses about the alleged indispensable role of the major museums’ and to gather support for their continued possession of more