'Leaving aside the “thin end of the wedge” argument for a moment, consider this: what if that act of restitution was regarded not as a loss, but as a gain?' writes and questions Charlotte Higgins, chief culture writer for the Guardian. 

Charlotte also talks to Esme Ward, Director of the Manchester Museum. After a £15m renovation, the museum will re-open on the 18th of February with 'a physical and ethical renovation'. Esme Ward says she has been determined to broaden the definition of the idea of “care” that sits at the heart of the idea of curatorship. She believes that curatorship should go beyond the basic obligation of a museum to preserve artefacts; it should also care for its community.

And so, after long conversations and exchanges, in 2020, Manchester Museum returned 43 sacred objects to the Australian Institute of Aboriginal and Torres Strait Islander Studies.

Esme Ward speaks about this as a gain for the Manchester Museum. "Above all it is a gain in knowledge; the kind of haptic, experiential knowledge of place and use that can be absent from dry descriptions of artefacts in museum catalogues. The gain is also by way of a relationship with the Australian institution – one that may result in long-term cooperation, including possible loans to Manchester. And even considered in bald binary terms, her museum has “lost” only 43 collection items out of around 4,000 relating to Aboriginal communities."

And we also know that the British Museum has over 100,000 Greek artefacts with just over 6,000 on display. We also know that for the last two decades, Greece has been suggesting that should the reunification of the Parthenon Marbles be failitated, Greece would lend the BM artefacts not yet exhibited outside of Greece.

Charlotte Higgins also quotes the BM: “we operate within the law and we’re not going to dismantle the museum’s collection as it tells the story of our common humanity. We are however looking at longterm partnerships, which would enable some of our greatest objects to be shared with audiences around the world. Discussions with Greece about a Parthenon Partnership are ongoing and constructive.”

We would add that no one wishes to see the BM break the law but basic moral decency is needed in this particular case. The case for the reunification of the Parthenon Marbles has been a steadfast request, made by Greece nearly 2 centuries ago, post independence. This requst has never been for ALL Greek artefacts to be returned. It currently asks for a peerless collection of fragmented sculptures to be given a new 21st century chapter in the Acropolis Museum. An opportunity for all of hmanity to celebrate the reunification of these sculptures, as close as it is physically possible to the Parthenon, which still stands and crowns the Acropolis: a UNESCO World Heritage site.

We've been around this block so many times, we're dizzy, and this October, BCRPM celebrates 40 years of campaigning. It seems we'll be embracing more campaigning before the solution to this historical impasse amongst two nations that are friends, might be respectfully found.

To read Charlotte Higgins' Guardian article, follow the link here.  

Charlotte Higgins asks a timely question in the Guardian today: 'The Parthenon marbles belong in Greece – so why is restitution so hard to swallow?'

Times are changing and Charlotte explores the developments in cultural restitution. Especially as Museums are returning artefacts and considering requests for more.

The request for the reunification of the Parthenon Marbles is an old one and has made headlines for decades. Yet recently the articles are suggesting that the time to engage in talks is now. UNESCO's ICPRCP emphasised their recommrndations at the end of September for bi-lateral talks. The UK objected.

The sculptures forcibly removed by Lord Elgin have celebrated over 200 years in the British Museum, whilst their surviving halves are exhibited in the top floor, glass walled Parthenon Gallery of the Acropolis Museum since June 2009.

Charlotte also reflects that even if we ' think Lord Elgin was acting lawfully, given how many terrible things through history have been done within the rule of law. The case for return has seemed all the more compelling since the 2009 opening of the Acropolis Museum, whose airy galleries, in sight of the temple itself, do such a wonderful job of telling the story of the Parthenon. By comparison, the British Museum’s Duveen Gallery can seem bleak and depressing.'

The request for the reunification of these sculptures began after Greece's indepence and became memorable in the 80's with then Greek Ministe of Culture Melina Mercouri's passionate pleas. They have continued and are as recent as last month with the words used by the Prime Minister of Greece, Kyriakos Mitsotakisas he praised the Times leader article, suggesting that reuniting the sculptures was the right thing to do.

Last month Greece welcomed a tiny fragment from Palermo. Despite the size of this fragment, the joy was huge and felt right across the globe. Next week the Greek Minister of Culture, Dr Lina Mendoni and the new General Director of the Acropolis Museum, Professor Nikos Stampolidis will travel to Palermo. Cultural co-operation between Italy and Greece is thriving.

Will gobal Britain also see the merit of engaging with Greece in paving the way to reunite the Parthenon Marbles?  

Charlotte goes on to conclude: 'The sensible course is for the government to institute an expert panel to hammer out principles on which repatriation claims to national museums can be soberly assessed, as has now long been done for artefacts linked to the Holocaust. The Westminster government with its wilful nativism seems unlikely to be minded to do that. But repatriation is today’s question. And almost certainly tomorrow’s, too.'

To read Charlotte Higgins' article in full, follow the lik here.

Charlotte Higgins is the auhor of 'Greek Myths, A New Retelling', published 09 November 2021.

THE GUARDIAN 16 November 2021

On Tuesday, 16 November 2021 in the Guardian Peter Walker and Helena Smith wrote that it has long been the official UK position that any return is a matter for the British Museum.

The wider debate about museums returning artefacts taken from other countries during colonial times, has so far been resisted by the UK with the mantra of “retain and explain”. And that the British Museum’s consistent view is that the sculptures were acquired legally, with Elgin receiving formal consent from the Ottoman empire to remove the section of sculptures. “His actions were thoroughly investigated by a parliamentary select committee in 1816 and found to be entirely legal, prior to the sculptures entering the collection of the British Museum by act of parliament,” the museum says on its website.

BCRPM Vice-Chair Paul Cartledge was quoted in the same Guardian article saying that this amounted to “a sleight of hand”.

“It’s a nonsense,” he added. “Even if the trustees agreed to relinquish them, the final decision to rescind the act of 1816 which declared the Elgin Collection to be owned by the nation would legally have to go through the British parliament. There is no doubt that the pressure is building up for genuine, post-imperial reconciliation in the cultural sphere and Johnson is trying to evade it.”

To read thst article in full, follow the link here.

THE TIMES

  Josh Glancey of The Times tweeted on the same day about the British Museum's website statement:

And BCRPM member Benjamin Ramm replied 

Variations in the British Museum's statements, half truths on the information provided in Room 18, have left generations questioning what really happened bewtween 1801-1805 for Greece to have lost to another country half of its surviving Parthenon Marbles, with the Parthenon itself still in Athens.

A helpful video can be found on the Acropolis Museum web site.

GBNews 18 November 2021

On Friday vening BCRPM's member Professor John Tasioulas joined GBNews and took a pragmatic approach on the issue too.

Today, Saturday 20 November, Simon Jenkins wrote in the Guardian and the article headline reads: 'Give the Parthenon marbles back to Greece – tech advances mean there are no more excuses. To read the full article follow the link here. 

THE GUARDIAN 20 November 2021

Simon Jenkins pragmatic approach concludes: 'This issue, so important to the Greeks but not to the British, could be sorted out with goodwill in an instant. Precisely such a negotiation on the marbles was demanded in September by UNESCO, and rejected by Britain. If it requires a “perpetual loan” or an act of parliament, then get on with it. If money is required, raise it. Johnson is being feeble in fobbing off Athens’ request as not being under his purview. The museum is a state institution. Instead of keeping his promise and doing the right thing by the marbles, he has performed another U-turn and funked it.'

THE DAILY MAIL 20 November 2021 

Prime Minister Mitsotakis wrote in the Daily Mail and adds: "Now, given the Prime Minister has told me he would not stand in the way of Greece establishing a formal dialogue with the British Museum over the future of the marbles, I can only assume things will be different – that he will not obstruct any future agreement and, instead, the Prime Minister would seek to amend the relevant legislation to allow the sculptures’ return."

THE TELEGRAPH 20 November 2021

The Telegraph published a double page spread in the main section of Saturday's paper, witten by Gordon Raynor, with the headline questioning:'Could we be on course to lose 'our' Marbles?'

BCRPM's Chair Janet Suzman is quoted:"The British Museum is demonstrably behind the curve.Other world-class institutions have started returning items, so it's a bit smug for the British Museum to refuse to engage. It just keeps trotting out the same mantra it has clung on for the past 200 years. It's terribly impolite for them to just stay silent on this."

The British Museum's reasons for keeping the Marbles in London and divided from their surviving half in Athens is that: " there is a positive advantage and public benefit in having the sculptures divided bewtween two great museums, because in Athens they are seen against the backdrop of Athenian history and in London visitors gain insight into how ancient Greece influenced other civilisations."

Janet adds that this is just "childish, finders keepers stuff. They were forcibly removed, they were brought to Britain, they have excited the western world and classical scholarship went up. They have done their job and it's time for them to go home. It is a moral obligation.

She continues:" Anyone who goes to the museum in Athens can see, that is where they should be displayed. In the British Museum the experience is quite depressing."

To read the full article, visit the Telegraph.

More on this also in the Greek Reporter.

Helena Smith writes in the Guardian about the Palace of Aigai, the largest surviving classical Greek building, after 16-year reconstruction completed.

For historians inside and outside Greece the new palace does something better still: refocus attention away from the classical age of Pericles in Athens to the Macedonian dynasty of northern Greece and achievements of Philip and Alexander.

“History is always about what we focus on,” said the British historian and broadcaster Michael Wood, speaking from London. “And this focuses our attention on the incredible events that began there. This small, provincial, militaristic kingdom would be the catalyst for the spread of Greek culture and Aigai the launch pad for Alexander the Great’s adventure in history, his expedition to Asia and conquest of half the known world.”

If the Parthenon represented the peak of the classical age, the royal metropolis conjured the beginning of the Hellenistic age, one that would last for hundreds of years and be felt as far as Afghanistan and India.

But there was something else, said Wood, who retraced the young warrior king’s epic journey through deserts, mountain ranges, rivers and plains from Greece to the north-west frontier of Pakistan and India in the 1990s.

The palace’s reconstruction had shown, yet again, that like the Parthenon marbles, great historical monuments have “an integrity” best seen unitedin their natural landscape. “The modern Greek state, as it should be, is proving to be a pre-eminent guardian of its ancient Greek culture,” said Wood. “What the palace also does is draw attention to the fact that the fifth-century sculptures should all be in the same place, back in Athens.”

Read Helena Smith's article in the Guardian, here.