The Royal Artillery is facing mounting criticism after denying public access to a stunning golden ram’s head, an artefact looted from the Asante kingdom during British military campaigns in the 19th century. Kept tucked away in the officers’ mess at Larkhill barracks in Wiltshire, this emblematic piece of history has sparked discussions about colonial legacies and the ethics of artefact ownership.
A Rich History of Conflict and Looting
The ram’s head, a beautifully crafted object approximately 19 cm wide with spiralling horns, is a significant relic of the Anglo-Asante wars. These conflicts, which spanned from the late 19th to early 20th centuries, were primarily driven by British interests in West Africa’s resources. The artefact was among many treasures taken from the royal palace in Kumasi in 1874, during a military campaign that concluded with the city being set ablaze and its palace destroyed.
British forces returned to Kumasi in 1896, plundering the rebuilt palace once more. A commanding officer at the time famously remarked on demonstrating “the power of England,” a statement that resonates painfully with contemporary perspectives on colonialism and its ramifications.
The Ram’s Head: Symbol of a Troubling Legacy
Despite its historical and cultural significance, the ram’s head remains hidden from public view, with access denied on grounds of security and insurance. Journalist Barnaby Phillips, who sought to examine the artefact for his upcoming book, expressed his dismay at being turned away. “It’s an army institution holding the spoils of war,” he remarked, highlighting the irony of a military body safeguarding a symbol of its colonial past while denying public engagement with it.
Ivor Agyeman-Duah, a Ghanaian historian and director of the Manhyia Palace Museum, has been tasked by the Asante king to facilitate negotiations for the return of looted artefacts. He has expressed interest in discussing the ram’s head with the Royal Artillery, calling it an “iconic evidence of Asante prowess.” Agyeman-Duah aims to visit the mess during his next trip to England, hopeful for a dialogue on the artefact’s future.
The Debate Over Artefact Ownership
The reluctance of the Royal Artillery to display the ram’s head raises broader questions about the ownership of colonial artefacts. Museums worldwide, including the Victoria and Albert Museum and the British Museum, are grappling with their collections’ provenance and the ethics of holding items acquired during colonial rule. In 2024, these institutions made a landmark decision to return 32 pieces of Asante gold court regalia to Ghana, albeit on a long-term loan rather than outright restitution.
Critics argue that artefacts such as the ram’s head should be accessible to the public and loaned to institutions where they can be properly displayed and appreciated. Phillips noted the discomfort surrounding the ram’s head’s ceremonial role in the officers’ mess, particularly given the portrayal of three Black boys on its stand, which reflects the racist attitudes of the time.
The Future of Cultural Artefacts
The Royal Artillery’s spokesperson stated that access to military sites is regulated for various security reasons, but this stance has not quelled the debate surrounding the ram’s head. Phillips pointed out that significant cultural artefacts should not remain hidden from public view, suggesting that the Royal Artillery may be “embarrassed” by the implications of their ongoing possession of such items.
His forthcoming book, *The African Kingdom of Gold: Britain and the Asante Treasure*, delves into these complexities and the ongoing effects of colonialism on cultural heritage. An unnamed museum director who visited Larkhill remarked, “When you see those things, and you realise no one else can see them… it’s like a punch in the stomach.”
Why it Matters
This situation underscores the enduring impact of colonialism on cultural heritage and the pressing need for dialogue about the repatriation of artefacts. The refusal to grant access to the Asante ram’s head not only highlights the complexities of ownership and display but also serves as a reminder of the historical injustices that continue to shape contemporary relationships between former colonial powers and nations like Ghana. Engaging with these artefacts openly could foster understanding and healing, paving the way for a more equitable global dialogue on heritage and history.