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Repatriation of San Rock Art Archives to South Africa

Ɛfi Wikipedia

Wɔatwerɛ nsɛm wei wɔ Asante Twi mu

Amanamanmufoɔ amammerɛ ho nnoɔma a wɔsan de kɔ wɔn man mu no abɛyɛ adeɛ titire wɔ wiase afanan nyinaa a wɔperɛ sɛ wɔbɛyi nhyɛsoɔ nnisoɔ no afiri hɔ na wɔasan de amammerɛ mu nimdeɛ ama no. Ade titire baako wɔ South Afrika agyapadeɛ a wɔresan de ama no mu ne San botan a wɔde yɛ mfonini no a wɔasan de afiri mmeaeɛ afoforɔ aba no. Mfonini ahodoɔ yi a emu dodoɔ no ara yɛ mfonini, nkrataatwerɛ, ne nwoma ahodoɔ no yɛ Sanfoɔ honhom fam ne amammerɛ ho twerɛtohɔ a ɛsom bo, na ɛyɛ nnipa mfitiaseɛ mu nnoɔma a wɔdii kan yɛeɛ no mu baako.

Abakɔsɛm

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Sanfoɔ a wɔtaa frɛ wɔn Bushmanfo no ka nnipa a wɔtenaa ase tete no ho, na wɔkyerɛ sɛ wɔtenaa ase mfe mpempem pii ni. Wɔn abo so mfonini a wohu wɔ abodan mu ne abotan so wɔ Afrika anafoɔ fam nyinaa no yɛ nnoɔma a ɛma wohu wɔn nsoromma, wɔn amanneɛ ahodoɔ, wɔn awudie, ne wɔn nananom gyidie ahodoɔ no ho kyerɛwtohɔ[1]. Nanso, wɔfaa saa nnwinnade yi ho kyerɛwtohɔ ne ne mfitiaseɛ no pii kɔɔ Europa aman bi, titire United Kingdom ne France, mu wɔ nnɛɛmmafoɔ mmere mu kɔyɛɛ nhwehwɛmu na wɔakora so a na wɔnni wɔn kuromfo no ho adwempa[2].

Asetena mu a wɔsan kɔ

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Adeɛ titire a ɛmaa wɔsan de saa nnoɔma a wɔakora so yi bae ne mmɔden a Cape Town Suapɔn (UCT) ne Iziko Tete Nneɛma Akorae a ɛwɔ South Africa no bɔeɛ, a wɔne Europa ahyehyɛde ahorow te sɛ British Museum ne Musée de l'Homme a ɛwɔ Paris yɛɛ adwuma. Nneɛma a wɔde aba no bi ne nneɛma a nnipa a wɔagye din te sɛ Wilhelm Bleek ne Lucy Lloyd, ne George Stow[3] a ɔyɛ mfoniniyɛfoɔ a wagye din na ɔyɛ nnipa ho twerwfoɔ no boaboaa ano.

Saa adwuma yi mu pii wɔ hɔ a, Digital Bleek ne Lloyd Archive ne ɔmanfoɔ nimdeɛ nnwuma a wɔde sii hɔ sɛ Sanfoɔ nyansa ne amammerɛ ho agyapadeɛ a wɔn asefoɔ a wɔwɔ hɔ no betumi anya bi aka ho. Na ɛnyɛ honam fam nko na wɔsan de wɔn kɔɔ wɔn man mu, na mmom na wɔsan nso de wɔn kɔɔ wɔn man mu wɔ ɔkwan a ɛmma wɔn ntumi mfa Sanfo nimdeɛ mmɔ wɔn bra wɔ ɔman no mu ne nwomasua mu nhwehwɛmu mu[4].

Sɛdeɛ ɛka amammerɛ ne abrabɔ

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San abo so adwini ho adansedi nkrataa a wɔde bɛsan akɔ wɔn man mu no nyɛ nneɛma anaa nkrataa a wɔde bɛsan akɔ wɔn man mu kɛkɛ, na mmom ɛyɛ sɛnkyerɛnne kwan so ahosɛpɛw ne nimdeɛ mu tumidi a wɔde bɛsan aba wɔn man mu. Mfeɛ pii mu no, wɔtwee Sanfoɔ no firii ɔman no mu, na wɔantumi ankyerɛ wɔn amammerɛ mu, anaasɛ wɔhyehyɛɛ wɔn wɔ amannɔne nnwumakuo mu. Ayarehwɛ a wɔsan de kɔ wɔn man mu no ma wɔsɔre tia atirimɔdensɛm a ɛwɔ abakɔsɛm mu yi, na ɛma wonya kwan ne wɔn bɔ nkɔmmɔ, nya ayaresa, na wonya nteteɛ[5].

Afei nso, nnoɔma a wɔakora so a wɔasan de aba no di dwuma titiriw wɔ Sanfo agyapade a wɔde di dwuma foforo no ho denam mfonini ahorow, nhomasua, ne wɔn anom atetesɛm a wɔde ma nkwa foforɔ no so. Yei ma San asefoɔ nya tumi de wɔn ho hyɛ wɔn abakɔsɛm mu na wɔhwɛ sɛ awo ntoatoaso a ɛbɛba no bɛkɔ so anya wɔn nananom nyansa[6].

Ɔhaw ahodoɔ ne kwan ahodoɔ a wobɛfa so asɔ ano

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Ɛwom sɛ wɔanya nkɔso ɔpii de, nanso ɔhaw da so ara wɔ hɔ. Eyinom bi ne ahyehyɛde ahorow a wɔsɔre tia, nneɛma a wonnya mfa nsie ne nneɛma a wɔda no adi, ne akasakasa a ɛwɔ nhomanimfo ne nnipa ntam. Nea ɛbɛyɛ na wɔasiesie nsɛm yi no, South Africa Agodi, Adwinne ne Amammerɛ Asoɛe no aka sɛ ɛsɛ sɛ wɔhyɛ mmara a ɛfa agyapade ho no mu den na wɔhyɛ apam a ɛfa aman mmienu ntam no nso mu den sɛnea ɛbɛyɛ a agyapade a ɛwɔ aman foforo so no bɛsan aba[7].

Bio nso, ɛho hia sɛ wɔkɔ so tete wɔn a wɔwɔ mpɔtam hɔ ne wɔn nnwuma ahorow mu sɛnea ɛbɛyɛ a wobetumi de akorae ahorow no adi dwuma na wɔate ase yiye. Nkɔmmɔbɔ a ɛwɔ nhomanimfo, aban, ne abusuakuw ahorow ntam no da so ara ho hia na ama wɔatumi anya agyapade a ɛfata.

Baabi a menyaa mmoa firiiɛ

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  1. Robert Layton (2003-06), "David Lewis-Williams. 2002. The mind in the cave: consciousness and the origins of art. London: Thames and Hudson. 320pp, index, figures, illustrations in black and white, and colour.", Antiquity, vol. 77, no. 296, pp. 422–423, doi:10.1017/s0003598x00092449, ISSN 0003-598X, retrieved 2025-07-29 {{citation}}: Check date values in: |date= (help)
  2. Brain Horrigan (2000), "Review: Displays of Power: Memory and Amnesia in the American Museum, by Steven C. Dubin", The Public Historian, vol. 22, no. 2, pp. 93–95, doi:10.2307/3379615, ISSN 0272-3433, retrieved 2025-07-29
  3. RICK ROHDE (2000-03), "RICH PICKINGS AND MISSED OPPORTUNITIES Miscast: Negotiating the Presence of the Bushmen. Edited by P<scp>IPPA</scp> S<scp>KOTNES</scp>. Cape Town: University of Cape Town Press, 1996. Pp. 383. £39.95/$49.95 (ISBN 0-7992-1652-6).", The Journal of African History, vol. 41, no. 1, pp. 131–172, doi:10.1017/s0021853799307684, ISSN 0021-8537, retrieved 2025-07-29 {{citation}}: Check date values in: |date= (help); line feed character in |title= at position 97 (help)
  4. John Gribble (2002), "Past, Present, and Future of Maritime Archaeology in South Africa", International Handbook of Underwater Archaeology, Boston, MA: Springer US, pp. 553–567, ISBN 978-1-4613-5120-7, retrieved 2025-07-29
  5. Annie E. Coombes (2003-11-24), History after Apartheid, Duke University Press, ISBN 978-0-8223-8492-2, retrieved 2025-07-29
  6. Catherine Namono (2012-10-25), "The Nature of Heritage: The New South Africa. By L. Meskell. Wiley-Blackwell, Malden, 2012, 272 pp. ISBN 978-0-470-67071-2. $ 39.95 / £ 22.99 (Paperback).", Journal of African Archaeology, vol. 10, no. 2, pp. 235–237, doi:10.3213/2191-5784-10218, ISSN 1612-1651, retrieved 2025-07-29
  7. "Government Departments", Inside South Africa’s Foreign Policy, I.B. Tauris, 2014, ISBN 978-1-78453-736-4, retrieved 2025-07-29