The Royal Artillery is under scrutiny for its refusal to allow public access to a stunning artefact looted during the Anglo-Asante conflicts of the late 19th century. The golden ram’s head, a tarnished symbol of colonial plunder, remains shrouded in secrecy within the officers’ mess at their barracks in Larkhill, Wiltshire. This refusal has sparked outrage, as many see the artefact as a crucial piece of Ghanaian heritage that deserves a place in the public eye.
A Symbol of Colonial Exploitation
The golden ram’s head, a remarkable piece approximately 19cm wide, is emblematic of the treasures seized from the Asante royal palace in Kumasi during the British military incursion in 1874. This act of aggression not only resulted in the looting of invaluable cultural items but also led to the destruction of the city, with British forces setting it ablaze and demolishing the palace. The commander of the expedition later boasted, “I had shown the power of England,” a chilling reminder of the imperial mindset that fueled such campaigns.
In subsequent years, the British returned to the region, pillaging the rebuilt palace in 1896. Over the decades, numerous artefacts from this dark chapter of history have made their way into various collections, such as the Victoria and Albert Museum and the British Museum. In a small gesture towards reconciliation, these institutions returned 32 pieces of gold court regalia to the Manhyia Palace Museum in Ghana in 2024, albeit merely on long-term loan.
A Denied Request for Access
Barnaby Phillips, a former BBC correspondent and author currently researching his upcoming book on the Asante treasure, was met with disappointment when he sought to examine the golden ram’s head. His request was firmly denied by the Royal Artillery, citing security and insurance concerns. Phillips remarked on the irony of an army institution holding the spoils of war while claiming it was unsafe to display them for research purposes.
The response from the Royal Artillery’s regimental secretary was terse, reinforcing a long-standing policy against public access to items in their private collection. This stance has raised eyebrows, particularly as the artefact is not just a relic but a potent symbol of a colonial past that continues to resonate deeply within contemporary discussions about restitution and cultural heritage.
Calls for Negotiation and Repatriation
Ivor Agyeman-Duah, a historian and director of the Manhyia Palace Museum, has been tasked by the Asante king, Otumfuo Osei Tutu II, to engage with British institutions regarding the return of Asante artefacts. He expressed a keen interest in negotiating with the Royal Artillery and hopes to visit the officers’ mess during his next trip to England. “This piece is iconic evidence of Asante prowess over two centuries,” Agyeman-Duah stated, highlighting the cultural significance of the ram’s head.
The Anglo-Asante wars, which concluded in 1901 with the annexation of Asante territory into the British Gold Coast colony, were driven by Britain’s insatiable appetite for West Africa’s resources. The Asante people’s resistance was met with brutal military force, justified at the time by a purported desire to end slavery. Yet, for many Ghanaians, gold objects like the ram’s head are not merely artefacts; they embody ancestral spirits and cultural identity.
A Legacy of Embarrassment
Phillips further suggests that the Royal Artillery might be grappling with embarrassment over the presentation of the ram’s head in its officers’ mess. The stand commissioned for the artefact in 1875, depicting three black boys in loincloths as if holding the trophy aloft, adds a layer of discomfort that starkly contrasts with modern sensibilities. For Phillips, the ram’s head’s ceremonial role in the mess, alongside the tarnished legacy of its acquisition, underscores a need for reflection and accountability.
Despite the significance of these artefacts, access remains tightly controlled. Phillips laments that two of the most extraordinary pieces looted by British forces are confined to the eyes of a select few. He argues that these culturally significant items could enrich public understanding if loaned to museums, allowing for wider appreciation and dialogue about the implications of colonial history.
An unnamed director from a major national museum, who was permitted to view the artefacts at Larkhill, encapsulated the sentiment of many: “When you see those things, and you realise no one else can see them, and they will never leave this place, it’s like a punch in the stomach.”
An army spokesperson maintained that access to military locations is governed by security, operational, and safety protocols, leaving many to wonder whether these justifications mask deeper issues surrounding accountability for colonial legacies.
Why it Matters
The controversy surrounding the Royal Artillery’s refusal to grant access to the golden ram’s head encapsulates a broader struggle over the legacy of colonialism and the restitution of cultural heritage. Artefacts like the ram’s head are not merely historical objects; they are living symbols of identity, memory, and the ongoing impact of colonial exploitation. As calls for transparency and repatriation grow louder, the handling of such items will continue to shape discussions about justice, reconciliation, and the responsibilities of institutions in confronting their past.