Student Ekphrases: Edo People- Arrowhead Union High School and KM Global School for Global Leadership and Innovation

Partnering with Lorette C. Luzajic, the founding editor of The Ekphrastic Review, Elizabeth Jorgensen and Terri Carnell’s students have explored curated selections of artwork chosen by Luzajic each semester for the last two years. 

Elizabeth Jorgensen teaches at KM Global School for Global Leadership and Innovation, a charter school within the Kettle Moraine School District in Wales, Wisconsin. Her students’ journey began with Equestrian Oba and Attendants, a piece created by the Edo people of Nigeria between 1550 and 1680. Students immersed themselves in the history of the Benin Bronzes through various resources, including news articles, documentaries, maps, and primary source artifacts. To meet an argumentative writing target, students crafted well-reasoned arguments to support their claims and deepen their understanding of the artwork.

Terri Carnell teaches at Arrowhead Union High School in Hartland, Wisconsin, where her advanced composition students studied Equestrian Oba and Attendants, Composition by Fikret Mualla (Turkey, before 1967), Pingvellir by Þórarinn Þorláksson (Iceland, 1900), and Raven and Whale by Chief Nakapankam, Mungo Martin (Canada, 1960). Inspired by the artwork, students crafted short stories, poems, essays, vignettes, diary entries, and letters.

To select pieces for publication, students analyzed each others’ writing. They examined words and phrases, exploring their technical, connotative, and figurative meanings, and considered how specific word choices influenced meaning and tone. 

Both teachers are grateful for this collaboration which has provided their students with a unique opportunity to engage with art, refine their analytical skills, and express their creativity. Working with Lorette has not only enriched their students' learning experiences, but also broadened their global perspectives, fostering a meaningful connection with art, writing, and critical thinking.

Terri Carnell and Elizabeth Jorgensen ​

Equestrian Oba and Attendants, Edo People (Nigeria) 1550-1680

Give Us Back Our Art!
 
The British Museum has about eight million artifacts in their possession. Now, like myself, you must be thinking, surely all of those artifacts can’t be on display at once. And you would be correct. The museum displays less than 1% of the artifacts they have (about 80,000); the rest are left to collect dust in storage. Yet The British Museum Act prevents artifacts from being given back to their rightful owners, which is downright disrespectful. The British Museum isn’t giving these artworks the love they deserve, being holders of vibrant stories and history, and are still refusing to give them to the people that would love, respect, and care for them. The British Museum Act should be removed and the artifacts returned to their rightful owners.
 
The British Museum Act (1963) tells us that The British Museum has three conditions for being able to return artwork to their original owners. First, the artifact is a duplicate of another (meaning that if there are two artifacts that are similar in the most significant ways, the British Museum can get rid of the duplicate). Second, the artifact doesn’t seem to have been made before the year of 1850. And lastly, the artwork is deemed unfit to be kept in the museum. Sadly, this means that pretty much every single artwork in The British Museum will not be returned to their owners, or as the British Museum Act refers to it, “disposed of”. 
 
The British Museum is entitled to the artifacts that they have bought. However, those that were taken from other countries and cultures, especially by unethical means, should be returned to their rightful owners. It is not fair that The British Museum gets to hold on to these artifacts that are so rich in culture and history, when the people whose history they are from don’t get to see them.
 
The British Museum has also been cowering behind The British Museum Act under the guise that the artworks are safer in their care, even going so far as to claim that they think other countries will damage or misplace the artifacts if they did give them to them. However, this received backlash from the public, especially with last year’s scandal involving one of The British Museum’s employees, who was fired for stealing about 1800 artifacts from the museum.
 
Additionally, many countries are demanding retribution for stolen art pieces. This is seen from the people of Greece asking for the Parthenon sculptures, Benin City asking for the Benin Bronzes, and even the Rosetta Stone. These are simple requests, but The British Museum is a little more than reluctant to let them have them back.
 
It is possible for The British Museum to return the artifacts to their original owners without too much hassle. It is possible to create replicas of these artifacts, which would be important to the safety of the art as well as make it possible for the artworks to return home. And if people worry about not being able to see the artifacts, then they can go see them in their home countries. The British Museum also can rent the originals for a festival each year, and then the British would still be able to display the originals and the countries would receive compensation for their contributions. 
There are so many oddly simple solutions to the problem at hand, but The British Museum is simply too stubborn to listen to reason.
 
Madison Anderson
 
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Theft of Culture
 
From 1550 to 1680, thousands of cultural art pieces were created in the Benin empire, which is now modern-day Nigeria. The most famous pieces are called the Benin Bronzes. There are 900 brass plaques created to decorate buildings and showcase culture and traditions. But after British occupation, most of the artifacts were taken from the people they belonged to. Although the British occupied Nigeria when the Benin Bronzes were created, they culturally belong to the people of Nigeria and therefore should be returned.
 
The Benin Bronzes and other art pieces were taken from their home in modern-day Nigeria to be sold to wealthy buyers and put in museums. This art showcases the culture of the Benin empire in Nigeria and not the culture of Britain. Art is at the heart of culture and shows the depths of commitment to the culture. In the absence of this piece of culture, the Nigerians are missing pieces of their history that many of them will never know about. 
 
During the colonial period, many groups stole culture from other countries simply because they lived there. The Rosetta Stone, containing many new discoveries about ancient language, was discovered in Egypt but was taken away to The British Museum. 
 
When Britain occupied what is now modern-day Nigeria, soldiers stole cultural art pieces and put them in their museum or sold them for money. They took the art to get back at the people of the Benin empire, but also to make money. If someone were in the situation of the people from the Benin Empire how would they feel? They would probably want their pieces back as well. If someone took the famous works of Picasso or Van Gough, what would they do? Everyone wants what is theirs back and returned. We need to think about how we would feel in the same situation to truly understand the effects of our actions.
 
Others may say that more people can view the Benin Bronzes at The British Museum with their millions of visitors every year. And others say that these art pieces will be more protected at museums. These claims are true that lots of people can see these culturally significant pieces, but also not many people from Nigeria have the opportunity to see these pieces. Chika Okeke-Agulu is an artist and art historian in Nigeria, and he said, “Most Nigerians will never see them.” The Benin Bronzes teach new generations about their culture, but without them it is very hard to pass on values, traditions, and culture to the next generation.
 
The Benin Bronzes should be returned to Nigeria even though the British troops occupied the empire during the time that they were created. The art of the Benin Empire created many beautiful pieces of art about their culture. In the absence of these pieces of art, they are missing vital parts of culture that many will not be able to witness. 

In the future, hopefully this injustice will be reversed and finally bring this piece of culture back to its proper home.
 
Megan Petersen
 
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The Benin Bronzes: Restoring Cultural Heritage to Nigeria
 
When you go to museums you might think, wow I am super lucky to be able to be here right now and witness these historic pieces of art. According to the British Museum “More than 6 million people visit the British Museum every year.” In this museum, there are many pieces of art. According to Artnet, “The [British] Museum acquired more than 200 plaques, made of brass, as a gift from the British government.” British Government? How does the British Government get a hold of art pieces made in Benin or Modern Day Nigeria? The Benin Bronzes are ancient artifacts that have been wrongly stolen from Benin's palace in 1897, and they should be returned to the OBA Palace located in modern day Nigeria.
 
The Benin Bronzes were wrongfully stolen from Benin in 1897 causing a historical injustice. According to a reporter at National Geographic, “[The Benin Bronzes] were looted by British colonial troops who invaded Benin City, the kingdom’s wealthy capital, in 1897.” This shows that the bronzes were unrightfully stolen from the Benin community. Also, if these bronzes were returned, it would help unify and acknowledge the wrongdoings that happened during the colonial times.
 
The Benin Bronzes can be used not only to provide people with real world items from their culture but also to educate the people of Nigeria. Nelson Mandela states “People without the knowledge of their past history, origin and culture is like a tree without roots.” If the bronzes are brought back to their original place of origin, it will allow people to learn about the history of their culture in a hands-on experience. Not only education, but it also could give the country of Nigeria another opportunity for tourism.
 
Counter Argument: The world’s people should be able to see the Benin bronzes in person as it allows people to further connect and feel with the artwork. I do agree that people should be allowed to see the artwork but I believe that the ancestors of the creators of the art should be able to see it in person. According to OXFAM International, “More than 112 million people are living in poverty in Nigeria.” This is around 49% of the Nigerian population. This suggests that many of the people of Nigeria (also known as the ancestors of the creators of Benin Bronzes) are not able to travel out of the country to look at the bronzes in person. People who have a cultural connection to an item should be able to see the item in person over people who just want to look at an item from history.
 
The Benin Bronzes should be returned back to modern day Nigeria to right the wrongs of past history during the colonial times. The bronzes have been held in places far away from their origin ever since being stolen in 1897. If they are given back, it acknowledges the wrongs from past times and allows Nigeria to reclaim one of their major pieces of heritage. Additionally, the bronzes can serve as an educational piece and a tourism sight. While it is a good thing that they are held for the world to see, the correct thing to do is to return them back to their rightful owners where they still can be observed by the public. 
 
Sawyer Vogds
 
References
 
Brown, K. (2018, July 27). Benin’s Looted Bronzes Are All Over the Western World. Here Are 7 Museums That Hold Over 2,000 of the Famed Sculptures. Artnet News; artnet News. https://news.artnet.com/art-world/benin-bronzes-restitution-1322807
 
Gregg, E. (2022, September 17). The Story of Nigeria’s Stolen Benin Bronzes, and the London Museum Returning Them. National Geographic. https://www.nationalgeographic.com/travel/article/nigeria-stolen-benin-bronzes-london-museum
 
Oxfam International. (2019, October 20). Nigeria: extreme inequality in numbers | Oxfam International. Oxfam International. https://www.oxfam.org/en/nigeria-extreme-inequality-numbers

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The Clay of War  
 
Patiently waiting for father to arrive was treacherous. It's been what feels like 26 years but only two. Mother has been teaching me how to make pots for the past few years when he has been gone, because I have to take care of the business if they parish. 
 
Hearing the stomping of the stampede coming in with the trumpets from victory. Most of the men I grew up with in our army were gone. Father had a scar across his face, his hat still stands proudly on his head. The protector gets on all fours next to the four legged mammal. Father steps on his back to get down. He stumbles to the front door of the grassy hut and bursts through the door. 
 
“Honey, get my tub of water going this dirt will not come off.” patting my head, the smell of curtailed blood from his hand runs across my nose. He stumbles to the tub in the next room over. The assertiveness coming off his body after washing his hands with blood. I knew it wasn't a pretty bad war, The town deserved it though. Chief Tehede disrespected our tribe and learned the consequences. 
 
The audacious decision to destroy their tribe came in full force two weeks after the threat. How dare Chief Tehede would threaten our land is what coursed through my head every night before bed… tossing and turning for the wait of his arrival.  
 
“Honey, we need to make this story an art piece to show our victory of their defeat.” Father screams loud enough, the birds outside move the next branch over. The way he stepped out of the room wasn't so proud anymore but like a bird that protects his nest from prey. 
 
Mother was at the stone creating a pot for our shop when she stopped in mid need. “You’re right, tell me the story of how you defeated someone who shall not be named my love.” She grabs the orange clay from the kitchen and begins to need it. 
 
The sun is beginning to set as I'm watching the chickens outside fight for the feed mother set out this morning. Mother set the fire for the stove and began to boil the water for the vegetables on the table next to the fire. Father seems angry in the next room over. His expressions are louder than ever. All I can hear is the BOOM of hands hitting the stone. 
 
Walking into the room seeing what mother was creating, it wasn't a pot. all my life it has been pots in our shop… but this was different. It was a slab of clay just big enough to fit on the fountain outside the town square…that is exactly where it went. 
 
Father and the soldiers that stood by his side through the fight standing tall in the clay mother crafted for everyone to see. Chief Oba, father, our savior and the mentor of the town of Edo. 
 
Hannah Mueller
 
**
 
Edmund’s Journey
 
They say I am young and weak. Being the youngest brother out of two, it is hard for me to keep up-physically. With our parents abandoning us, forcing us to become orphans, it’s hard to stay positive. Having an older brother and sister helps a lot with feeling safe. And having a younger sister that looks up to me, makes me want to take initiative and help us out, by doing whatever I can do. 
 
But, I made a mistake that some people never get to come back from. Siding with the other side was something I never thought I would do. They really used their tricks well. Bringing me in and giving me anything, just to give away a position of something so small. I've tried to plead my case and help, but there was no coming back from this. I thought. I feel as if most of the time I am holding the four of us back. But we are a family, a unit. We would do anything for each other. Which is why they welcomed me back into the group. We came here as one and will leave as one. I know that not one of their useless troops will tear us apart. Nobody will bring us down. We have finally built up our army, consisting of people ready to put their lives on the line, and are ready to defend Narnia. Knowing that we will defeat them because we have Aslan on our side. 
 
I will be strong. I will be audacious. I have a ton of armor on me, concealing my bare skin. My eyes are focused on the field that lies before us. I have never been this locked in before. This is for more than just our lives, but for the world of Narnia. We have everything set, everyone in their places, waiting for the enemy to approach. My heart is beating faster and faster, like the banging of a drum. As they come into view, my brother, Peter, yells “For Narnia!”. We all charge, risking our lives for the good of Narnia. 

AJ Ohrmundt


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A Warrior
​
A warrior is molded by the battles he chooses to fight: his victories, his defeats, his triumphs, and his tribulations. A warrior is guided by his will to protect and his will to conquer. A man does not choose to become a warrior, it chooses him. The way of combat must decide to nurture him, and he must let it do so. The way of the warrior is an arcane, winding path.. Those who are able to walk it command honor, respect, fear, and admiration. To be a warrior is to never retreat from your trials. A warrior needn’t wield a sword or a bow, they needn’t wield a dagger or a spear, and a warrior needn’t practice real combat. A warrior needs only to overcome his challenges and the will to assert himself against that which opposes him.
 
It is the duty of those proclaimed as warriors to do what others cannot. It is the duty of those gifted with stronger will and a higher strength to protect those who are not. Although it is the duty of a warrior to protect that which others seek to take, his head must not become clouded. As the path of the warrior is walked, it is easy to grow vengeful — to foster hate. One must remember to carry out their duties with a clear mind, as calm as a gentle breeze. Hate and vengeance are the malicious cancers that stem from confrontation with an opponent. They run you astray and lead you to believe that your enemy stands in front of you. It is important to remember that an opponent is all that you are facing.
 
A true warrior has only opponents, they do not believe in enemies — it is below a warrior to fall to such lows.
 
Jacques Robichaud