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The ancestors know
ROGER McKENZIE recommends an exhibition that explores the colonial plunder hidden in the collection, and the questions it raises
Unrecorded Taino artist, Boinayel the Rain Giver figure, c. 1256-1300 [© The Trustees of the British Museum]

Hew Locke – What Have We Here?
British Museum, London

I FEEL like I’m walking into one of those stolen goods storage areas in a police station when I walk into a museum. To me, museums are basically lock-ups.

No matter how much fancy language is used to try to finesse it, the basic truth is many of the “exhibits” in museums are there because some colonialist has decided to remove them from their rightful dwelling place, either to make money or to claim that the only “safe” place for them is in a museum.

Nevertheless, I love the British Museum — as a history buff I can’t help it! It is just full of all the things I want to find out more about. Much of it is the heritage that has been hidden or stolen from me.

Akawaio headdress, Guyana, before 1865, Feather, reed and cotton, collected by Henry Christy by the Demerara River, Guyana: an example of the kind of Indigenous featherwork which Hew Locke saw and knew as a child in Guyana. Credit: © The Trustees of the B
‘SUCCESS TO THE BROOKS CAPt. NOBEL’, Liverpool, Herculaneum Factory, 1793 or later. The Brooks was a Liverpool slaving ship skippered by Captain Clement Noble between 1775 and 1786. The jug is an example of British pro-slavery propaganda, probably commis
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