Daste Madeleine, PhD Candidate Université Paris 1 Panthéon-Sorbonne
Demetriou Anna, PhD Candidate Université Paris 1 Panthéon-Sorbonne
Dhondt Emma, PhD Candidate Katholieke Universiteit Leuven, Belgium
Arianna Moretti, PhD Candidate, University of Bologna

Museums and Their Colonial Past
Museums have long been institutions of knowledge and cultural preservation, but in recent decades, they have been increasingly criticized for their role in perpetuating colonial narratives. Many artifacts in European and North American museums were acquired during imperial expansion through military conquest, forced exchanges, or scientific expeditions. These acquisitions have led to growing ethical concerns about restitution, ownership, and the role of museums in addressing historical injustices (Hicks, 2020).
As highlighted in the 2018 Sarr-Savoy report, commissioned by the French government, restitution is not just about returning physical objects but about restoring cultural memory and identity to nations that were deprived of their heritage. The absence of key artifacts in African and other formerly colonized nations has hindered their ability to tell their own histories (Sarr, & Savoye, 2018).
While calls for restitution have grown stronger, the debate is complex. Arguments for keeping objects in Western museums often cite legal restrictions, conservation concerns, and the idea that certain artifacts belong to “universal heritage” rather than specific nations. However, recent developments show that museums are beginning to acknowledge the need for change. In order to illustrate this new evolution, three museums will be discussed as case studies : the AfricaMuseum in Belgium, the Grassi Museum in Germany and the Museum of Tahiti in French Polynesia.
The AfricaMuseum (Brussels, Belgium)
The AfricaMuseum in Brussels, formerly known as the Royal Museum for Central Africa, has undergone a significant transformation i response to criticism of its colonial past. Originally designed as a propaganda tool to glorify Belgium’s rule in the Congo, the museum displayed African cultures through a Eurocentric lens, often portraying Congolese people as primitive and in need of European civilization.
With growing awareness of the problematic nature of such representations, the museum underwent a major renovation, reopening in 2018 with a new approach. Instead of glorifying colonialism, it now actively engages with its past, acknowling Belgium’s exploitative history in Africa. Exhibits have been redesigned to include African perspectives, and efforts have been made to collaborate with Congolese scholars and artists.
Despite these changes, the AfricaMuseum still faces criticism. Many believe that merely changing the narrative within the museum is not enough—full restitution of stolen artifacts to the Congo is necessary. Belgium has made some steps toward returning specific objects, but the process remains slow and politically complex (Goddeeris, 2022) [2].
The Grassi Museum (Leipzig, Germany)
The Grassi Museum für Völkerkunde in Leipzig, Germany , is another institution grappling with the issue of restitution. Housing thousands of artifacts from Africa, Asia, and the Pacific, many of which were acquired during Germany’s colonial period, the museum has been at the center of debates on provenance research and repatriation.
A key example is the museum’s collection of artifacts from Namibia, a country that suffered brutal German colonial rule, including the Herero and Nama genocide (1904 1908). Some objects were taken as war trophies or extracted through coercion. Acknowledging the injustices of the past, the museum has actively worked with Namibian authorities to return certain artifacts.
However, as with many restitution efforts, challenges remain. Legal frameworks, political agreements, and museum policies complicate the process. German museums have shown willingness to address these concerns, but restitution efforts are often slow and dependent on negotiations between governments.
The Museum of Tahiti (French Polynesia)
The Museum of Tahiti and the Islands offers a different perspective on restitution. Unlike European museums that house colonial-era artifacts, this museum is located within a former colony—French Polynesia—and serves as a repository of the region’s cultural heritage. However, much of Polynesia’s historical artifacts are still held in French museums such as the Musée du Quai Branly in Paris.
For decades, Tahitian cultural institutions have sought the return of sacred and historically significant objects. One of the most notable cases involves the Mā’ohi objects, which hold spiritual significance for Polynesians. After years of advocacy, France finally agreed to return certain objects to the Museum of Tahiti. This decision marked an important precedent, demonstrating that restitution is possible when political will aligns with ethical considerations.
Nevertheless, the return of a few artifacts does not fully address the broader issue. Many items remain in European institutions, and Polynesian scholars continue to argue that these objects belong in their ancestral lands, where they can be accessed by local communities rather than foreign audiences (Depaepe, 2023) [1].
Conclusive Remarks/Key Issues in the Restitution Debate
The case studies highlight several recurring themes in the ongoing debate over restitution:
- Historical Accountability vs. Legal Barriers – Many museums acknowledge the unethical origins of their collections, but are constrained by national laws that prevent them from returning objects. For instance, French law considers national collections inalienable, making restitution a complex legal issue.
- Conservation and Infrastructure – Some institutions argue that artifacts are better preserved in European museums with advanced conservation technology. However, this argument has been challenged by countries that have invested in modern museums and conservation facilities.
- Symbolic vs. Structural Change – Museums like the AfricaMuseum have changed their narratives but still hold onto contested artifacts. Critics argue that true decolonization requires returning objects, not just reinterpreting them.
- Political and Diplomatic Implications – Restitution often involves negotiations between governments, not just museums. Some countries, like Germany, have been more open to returning objects, while others, like the UK, remain resistant.
- Community Engagement—Successful restitution efforts require collaboration with source communities. Museums that work with Indigenous and local groups are more likely to develop ethical and sustainable solutions.
References
Depaepe, M.-C. (2023, March 1). Te fare IaManaha: Métamorphose réussie de l’ex-musée de Tahiti et des îles. Polynésie la 1ère. https://la1ere.francetvinfo.fr/polynesie/tahiti/polynesie-francaise/te-fare-iamanaha-metamorphose-reussie-de-l-ex-musee-de-tahiti-et-des-iles-1371102.html
Goddeeris, I. (2022, November 8). Belgian colonization in the public space: From Congo pioneers to missionaries
Hicks, D. (2020). The British Museums: The Benin Bronzes, Colonial Violence and Cultural Restitution. Pluto Press.
Sarr, F., & Savoye, B. (2018). La restitution du patrimoine culturel africain, versune nouvelle éthique relationnelle | Ministère de la Culture. https://www.culture.gouv.fr/espace-documentation/rapports/La-restitution-du-patrimoine-culturel-africain-vers-une-nouvelle-ethique-relationnelle
Daste Madeleine, École doctorale d’archéologie, Université Paris 1 Panthéon-Sorbonne, France – madeleine.daste@etu.univ-paris1.fr
Demetriou Anna, École doctorale d’archéologie, Université Paris 1 Panthéon-Sorbonne, France – anna.demetriou@etu.univ-paris1.fr
Dhondt Emma, PhD Candidate, Leuven Centre for Global Governance Studies, Katholieke Universiteit Leuven, Belgium – emma.dhondt@kuleuven.be
Arianna Moretti PhD Candidate, Department of Classical Philology and Italian Studies, University of Bologna, Italy – arianna.moretti4@unibo.it









