Game 'Reloots' African Artefacts from Western Museums
Under the cover of darkness, Nomali jumped over a wall, burst into a museum and snatched a human skull from a pedestal before escaping through a window to the wail of an alarm.
The daring heist was not the work of a real-life criminal. Nomali is the protagonist of a new action-packed video game where players "reclaim" artefacts taken from African countries to be displayed in the West.
Developed by Johannesburg studio Nyamakop, "Relooted" is set in an imaginary future but tackles a topical issue: calls for Western institutions to return to Africa the spoils of colonization.
Players are tasked with taking back 70 artefacts -- all of which exist in real life -- with a "team of African citizens", said producer Sithe Ncube, one of a team of 30 working on the game.
The items include the "Benin Bronzes" sculptures removed from the former kingdom of Benin more than 120 years ago, and which The Netherlands officially returned to Nigeria on June 21.
Another is the sacred Ngadji drum from Kenya's Pokomo community, which was confiscated by British colonial authorities in 1902.
"Its removal destabilized the community," Ncube said as an animated drawing of the wooden instrument flashed on her computer. Players "can see where it's from... and read about the history," she said, giving a demo.
'Is it stealing?'
On the screen a crew of characters in Afrofuturist costumes debated a plan to recover the remains of Tanzanian chiefs hanged by German colonial forces.
One asked: "Is it stealing to take back what was stolen?"
"We are going to do whatever it takes to take back Africa's belongings, and we are going to do it together," said the character Nomali.
"Sometimes the stories behind these (artefacts) are actually very upsetting," Ncube told AFP. "It makes you see how much colonialism has affected... and shaped the world."
Growing up in Zambia, she knew of her country's iconic "Broken Hill Man", a skull about 300,000 years old held in London's Natural History Museum and which is also featured in "Relooted".
But it was only when working on the game that Ncube realized how many African cultural artefacts were held abroad, she said.
In France alone, museums stored about 90,000 objects from sub-Saharan Africa, according to a 2018 report commissioned by the government.
"Africans, to actually see these things that are part of their own culture, have to get a visa, pay for flights and go to a European country," Ncube said. "My whole life, I've never seen 'Broken Hill Man'."
Skewed identity
The looting of artefacts over centuries robbed communities of their "archives" and "knowledge systems", said Samba Yonga, co-founder of the digital Museum of Women's History in Zambia.
"Our history predates colonization by millennia," she told AFP, but many people "don't even realize that we have a skewed sense of self and identity."
Reclaiming these objects would enable "a shift in how the next generation views their culture and identity," she said.
The same hope underpinned "Relooted", which was unveiled this month at Los Angeles's Summer Game Fest where it attracted a lot of interest from the diaspora and other Africans, Ncube said.
"I hope that the game encourages people from other African countries to want to tell their own stories and bring these things to light," she said.
One character felt personal for the producer: Professor Grace, Nomali's grandmother and described as "the brains behind the mission".
"I started seeing my own grandmother in her," Ncube said with emotion. "She represents a connection between our generations, fighting for the same thing we've always been fighting for."
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Asharq Al-Awsat
19 hours ago
- Asharq Al-Awsat
Game 'Reloots' African Artefacts from Western Museums
Under the cover of darkness, Nomali jumped over a wall, burst into a museum and snatched a human skull from a pedestal before escaping through a window to the wail of an alarm. The daring heist was not the work of a real-life criminal. Nomali is the protagonist of a new action-packed video game where players "reclaim" artefacts taken from African countries to be displayed in the West. Developed by Johannesburg studio Nyamakop, "Relooted" is set in an imaginary future but tackles a topical issue: calls for Western institutions to return to Africa the spoils of colonization. Players are tasked with taking back 70 artefacts -- all of which exist in real life -- with a "team of African citizens", said producer Sithe Ncube, one of a team of 30 working on the game. The items include the "Benin Bronzes" sculptures removed from the former kingdom of Benin more than 120 years ago, and which The Netherlands officially returned to Nigeria on June 21. Another is the sacred Ngadji drum from Kenya's Pokomo community, which was confiscated by British colonial authorities in 1902. "Its removal destabilized the community," Ncube said as an animated drawing of the wooden instrument flashed on her computer. Players "can see where it's from... and read about the history," she said, giving a demo. 'Is it stealing?' On the screen a crew of characters in Afrofuturist costumes debated a plan to recover the remains of Tanzanian chiefs hanged by German colonial forces. One asked: "Is it stealing to take back what was stolen?" "We are going to do whatever it takes to take back Africa's belongings, and we are going to do it together," said the character Nomali. "Sometimes the stories behind these (artefacts) are actually very upsetting," Ncube told AFP. "It makes you see how much colonialism has affected... and shaped the world." Growing up in Zambia, she knew of her country's iconic "Broken Hill Man", a skull about 300,000 years old held in London's Natural History Museum and which is also featured in "Relooted". But it was only when working on the game that Ncube realized how many African cultural artefacts were held abroad, she said. In France alone, museums stored about 90,000 objects from sub-Saharan Africa, according to a 2018 report commissioned by the government. "Africans, to actually see these things that are part of their own culture, have to get a visa, pay for flights and go to a European country," Ncube said. "My whole life, I've never seen 'Broken Hill Man'." Skewed identity The looting of artefacts over centuries robbed communities of their "archives" and "knowledge systems", said Samba Yonga, co-founder of the digital Museum of Women's History in Zambia. "Our history predates colonization by millennia," she told AFP, but many people "don't even realize that we have a skewed sense of self and identity." Reclaiming these objects would enable "a shift in how the next generation views their culture and identity," she said. The same hope underpinned "Relooted", which was unveiled this month at Los Angeles's Summer Game Fest where it attracted a lot of interest from the diaspora and other Africans, Ncube said. "I hope that the game encourages people from other African countries to want to tell their own stories and bring these things to light," she said. One character felt personal for the producer: Professor Grace, Nomali's grandmother and described as "the brains behind the mission". "I started seeing my own grandmother in her," Ncube said with emotion. "She represents a connection between our generations, fighting for the same thing we've always been fighting for."
Al Arabiya
3 days ago
- Al Arabiya
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In February, Afrobeats singer Tems won the Grammy for Best African Music Performance. Her achievement underscores the genre's growing popularity, exemplified by more than 15 billion streams on Spotify. It is also part of a broader cultural renaissance, as Africa's creative industries — from music and film to fashion — rapidly expand their global reach. African culture's rise to prominence could play a major role in the continent's economic transformation, offering significant opportunities for a large and growing youth population. The creative industries are projected to account for 4 percent of Africa's gross domestic product and up to 10 percent of global creative exports by 2030, creating more than 20 million new jobs. As I highlight in a new report, the growth of Africa's creative industries is driven by two major forces: digitalization and demographic shifts. 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By 2060, the middle class is expected to comprise more than 40 percent of the continent's population. At the same time, Africa's youth population is projected to double by 2050, making it the only region in the world with a growing working-age population. In addition to expanding Africa's domestic markets, this demographic dividend is poised to transform the global cultural landscape, with African creators playing an increasingly influential role. African policymakers must harness this cultural momentum to advance economic, social and development goals. Notably, creative industries tend to employ a higher proportion of young people than other parts of the economy. With an estimated 11 million young Africans expected to enter the workforce annually through 2030, targeted investment in these industries could be a highly effective strategy for addressing the continent's youth unemployment problem. In sectors like fashion, about 90 percent of micro, small and medium-size enterprises operate informally. Formalizing these businesses could boost productivity, broaden access to finance and foster long-term growth. A more structured creative economy could also advance gender equality, especially in countries like Ethiopia, where women comprise roughly 85 percent to 90 percent of the apparel workforce. African governments should adopt business-friendly policies tailored to the unique needs of African entrepreneurs and creators. Landry Signe To be sure, significant obstacles must be overcome to realize the sector's full potential. Africa currently accounts for just 1.5 percent of the global creative economy and 5 percent of the world's cultural and creative industry jobs, and the sector faces persistent funding gaps, chronic underinvestment and weak regulatory frameworks. Many African governments allocate less than 1 percent of their national budgets to creative industries. Intellectual property protections remain a key vulnerability as well, with UNESCO estimating that 50 percent to 75 percent of African film and audiovisual revenues are lost to piracy. To tackle this challenge, governments must bolster antipiracy laws and improve enforcement mechanisms. The African Union's Plan of Action on Cultural and Creative Industries is a step in the right direction, but its success will depend on coordinated national implementation, the development of clear intellectual property guidelines and more robust institutional capacity. Alongside intellectual property reform, African governments should adopt business-friendly policies tailored to the unique needs of African entrepreneurs and creators. Given the high levels of informality across the sector, these frameworks must be flexible and inclusive. A prime example is Morocco's rebate system, which attracted international productions and helped the country's film industry achieve record profits in 2023. Access to funding is essential. The financial measures introduced during the COVID-19 pandemic to aid the arts sector provide a useful model for how direct public investment can support creative industries. Strategic investment in digital infrastructure is also critical, especially for creative industries like fashion e-commerce. National governments should also collaborate with regional and international funders. Encouragingly, the African Export-Import Bank announced last year that it would double its investment — to $2 billion over the next three years — in the Creative Africa Nexus initiative, which connects creative professionals and investors from across the continent. More broadly, African governments must develop forward-looking policies that accelerate the growth of creative industries. By tapping into the talent, innovation and entrepreneurial drive of Africa's youth, the continent has the potential to position its creative economy as a global powerhouse, driving GDP growth, expanding cultural influence and shaping a future defined by African-led prosperity.
