ASANTE GOLDWEIGHTS
Victoria and Albert (V&A), London

IN THE Metalware Gallery (Room 116) at the V&A a humble display of Asante Goldweights has acquired a significance far beyond the modest number of the items on display.

“It reflects the developing discussions in museums around decolonisation and the need for us to be open about the V&A’s history as both an expression and a driver of 19th-century imperialism,” writes V&A senior curator Angus Patterson in a companion piece.

This honesty needs to saluted as it marks a significant step in a process that would hopefully lead to a significant restitution of art treasures hoarded in British museums which are, more often than not, of great social, cultural and political significance to their original creators.

The Asante were a powerful nation ruling over what is modern-day Ghana — and has previously been known as the Gold Coast — since 1701. The Asante became wealthy trading in slaves — until early 19th century — and gold. The latter spurred the imperial ambitions and greed of the Swedes, the Dutch and finally the British.

The demise of the Asante Kindgom came when British forces invaded its capital Kumasi on February 4 1874. Major-General Garnet Wolseley ordered troops to plunder the royal regalia in a premeditated act of stripping the Asante rulers of their symbols of power and thereby denying them their authority to govern. Kumasi was destroyed in a further act of calculated malice.

The trade in gold required measuring weights which the Asante called mbrammoo. Cast in brass and bronze using the “lost wax” method they would come, early on, in geometric shapes but by the 18th century would increasingly depict a wide range of human and animal figures often in endearing scenarios representing popular Asante proverbs.

Take the humorous antelope whose extended horns refer to the Asante saying: “Had I known” or, “If I’d known my horns were to grow so long I might not have started,” a visual pun on the benefits of hindsight and a wise suggestion for thought before action.

Another comes in the form of an Asante shield decorated with nine bells, the crossed pattern, nkyimu, represents careful preparation, skillfulness and precision. While a weight in the form of a miniature cartridge belt, modelled on those used by Europeans, symbolises resourcefulness and readiness: “The gun cartridge belt of Akowua [a warrior] has never been known to lack bullets.”

A pectoral gold disc — an akrafokonmu (soul discs or soul washers’ badges) displays fully the extraordinary skills of Asante goldsmiths. Similarly the pear-shaped gold pendant, part of a necklace called asuman that would have shielded the wearer from misfortune.

When first shown at the South Kensington Museum (later the V&A) in 1874 (the year of Asante defeat) crowds brimmed with imperial triumphalism combined with artistic curiosity. It is to be hoped that today this is replaced by respect and admiration for the artistry and craft on display as much as an understanding that only full restitution will put an end to the lingering and odious past.

Asante Goldweights will be on show in the Metalware Gallery for the foreseeable future.