Editorial

Our cover shows a Kongo power figure, nkisi n’kondi, from the Democratic Republic of the Congo. Wood, metal, glass, resin, fiber, pigment. H: 51 cm. Congregation du Saint-Esprit (CSSp). Photo © Congrégation du Saint-Esprit.

A curious fact that many may not be aware of is that the city of Nashville, perhaps best known as being the epicenter of country music, also carries the moniker of the “Athens of the South,” and it has a full-scale replica of the Parthenon, which is in somewhat better condition than the original in Greece. This was built in 1897 as part of the Tennessee Centennial Exposition as one of the curiosities that were constructed for fairs of that sort at the time. It houses an impressive reproduction of Phidias’ monumental chryselephantine Athena Parthenos statue on its main level, and its basement today serves as a small museum. In addition to a nice group of nineteenth- and early twentieth-century paintings, it has a collection of 248 Pre-Columbian artifacts, donated in the 1960s and 1970s by two private collectors, Dr. John L. Montgomery and Edgar York. Or ... had. It recently staged a special exhibition of this material titled Repatriation and Its Impact, and upon closing in mid-July the material was to be delivered to the Instituto Nacional de Antropología e Historia in Mexico City, which, it should be noted, did not request this action. Chances are they knew nothing about this collection.

At first blush, this might seem like a generous action, especially given the current tenor of public dialogue on repatriation that has permeated the media. And indeed the Parthenon has received excellent press for this, The New York Times headline on this story reading “A Tiny Museum Takes the High Road and Shows the Way Forward.” Is this the way forward though? I think not. While the Parthenon may have made a minor educational impact with its Repatriation show, bringing up thought-provoking issues for those who saw it during its three-month run, that’s the end of it. The collection is composed of minor West Coast Mexico material, described as including “small adornments, zoomorphic images, ceramic pots, musical instruments, and hand tools.” The flagship piece is probably a compact but fairly nice Colima dog that would likely sell for about $2,000 on the art market today. Even small regional museums in Mexico display better material than this, and upon its return, this collection will certainly be relegated to storage and never be seen or thought of again. If “the repatriation of these artifacts is a cultural obligation as well as a moral responsibility,” as stated by Metro Parks Director Monique Horton Odom, why not arrange title return coupled with a long-term loan agreement so the works can stay where they are? The American South isn’t exactly replete with displays of Pre-Columbian art, and little precontact history is part of the public-school curriculum. Seeing a display like this, even of such inconsequential material, is a rare opportunity to spark interest and ignite the imaginations of those who encounter it, especially schoolchildren, who may develop a greater sensitivity to history and international cultural understanding as a result. As Odom further notes, “These artifacts have value and meaning to the people of Mexico and should be housed where they will have a dynamic impact on understanding the people and culture of the past.” Agreed, but that place is exactly where they’ve been for more than half a century.

Far from Nashville, the Saint-Germain-des-Prés neighborhood is gearing up for a consequential event. The annual Parcours des Mondes will be held September 10–15 in the individual galleries of the area’s picturesque beaux arts district. Now in its twenty-third year—dear Lord, where does the time go?—this year’s art fair will feature some fifty galleries from around the world offering the very best of artworks from Africa, Oceania, Asia, and the Americas, as well as antiquities. This is a rare opportunity to see, and possibly acquire, remarkable works of art, while enjoying a pleasant stroll through these storied streets, encountering old friends and making new ones. We hope to see you there!

Jonathan Fogel

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