Protesters voice discontent against cultural displacement, as Omani artifacts take over museum exhibition areas.
The Lamu Museum, a cultural institution that houses artifacts from the Giriama, Pokomo, and Orma tribes, has been at the centre of a heated debate following a renovation project funded by the National Records and Archive Authority (NRAA) of Oman. The project, which aimed to restore the museum building and recast the exhibits with a focus on Omani history and culture in East Africa, has resulted in the removal of local tribal artifacts and the installation of seven permanent exhibitions emphasizing Omani maritime heritage, the Al Busaidi dynasty, and modern Oman.
The shift in focus has sparked significant concern and debate among residents and cultural preservation groups. Many locals perceive the removal of indigenous artifacts as a marginalization of their history and cultural identity in favour of an external narrative centred on Oman. The renovations, seen in other Kenyan sites like Nairobi Museum and Fort Jesus, have raised major concerns about the erasure of local heritage in favour of foreign histories.
The response has been particularly strong in Lamu, a UNESCO World Heritage site known for its rich Swahili culture. Residents accuse authorities of neglecting local cultural heritage and favouring foreign narratives, as well as attempting to "Arabize" the history of the Lamu Archipelago. This has led to calls for cultural restitution, with some arguing that the artifacts should be returned to their rightful owners.
The museum reopened early last year, with only the Omani-funded first floor fully operational. The ground floor, which has been closed for two years due to deteriorated condition, inadequate lighting, and incomplete renovations, remains unfinished. Funds for its completion have not been allocated.
The first floor, now reserved for Omani heritage, is well-lit and airy, benefiting from natural light and a sea breeze. In contrast, the unfinished ground floor remains in a state of disrepair. Walid Ahmed, co-founder of Save Lamu, expressed frustration at the unfinished ground floor and called for funds to be allocated for its completion.
The project began after a Memorandum of Understanding (MoU) was signed between the Cabinet Secretary for Sports, Culture and the Arts, Dr Hassan Wario, and the Government of Oman. However, the absence of the traditional siwa, a pair of whistle-blowing horns, has sparked renewed calls for cultural restitution.
The controversy has not gone unnoticed by Kenyan politicians. Lawyer and Lamu resident Yusuf Aboubakar called on local MPs to lobby for funds to complete the project. Athman Hussein, a recently retired assistant director at the National Museums of Kenya (NMK) in charge of the Coast region, confirmed that only the first floor was completed.
The heavy Omani presence at the Lamu Museum and Fort Jesus in Mombasa has shocked some, with Stephen Henighan expressing his surprise. Alvin Kahama lamented that Kenya's foreign policy seems to be "come with money, and we'll say yes to anything." Others, like Kim Mbali and Kellian King, warned of cultural colonization and foreign influence.
Syombua Kibue questioned why Oman, which was involved in the East African slave trade, is allowed to brand the museums. Angie Njagi claimed that local heritage has been erased and sold to the highest bidder. A large portrait of the Sultan of Oman next to Kenya's presidential portrait at the entrance has further raised concerns.
As the debate continues, local residents and activists are calling for the Ministry of Heritage and the Arts to complete the unfinished renovations. Some are even questioning if crowdfunding is necessary to restore local culture. The Lamu Museum saga serves as a reminder of the delicate balance between preserving cultural heritage and attracting foreign investment.
- The controversy surrounding the Lamu Museum's renovation project has extended to discussions about politics, with local residents and activists calling for the completion of unfinished renovations.
- The shift in focus at the Lamu Museum, which now exclusively showcases Omani heritage, has led to concerns about the erasure of local tribal artifacts and the marginalization of Kenyan cultural identity.
- The loss of indigenous artifacts has sparked calls for cultural restitution, with some arguing that the artifacts should be returned to their rightful owners.
- The public debate has also touched upon the realm of education and self-development, as critics question the erasure of local heritage and warn of the dangers of foreign cultural colonization.
- The debate has drawn attention to the intersection of politics and the preservation of cultural heritage, raising questions about the effects of foreign investments on local history and identity.
- In the world of fashion-and-beauty, some Kenyans have expressed disappointment at the shift in focus away from Swahili culture at the Lamu Museum.
- The renovation project also has implications for personal growth, with some Kenyans feeling that their cultural identity has been threatened by the project's emphasis on Omani culture.
- Many have also raised concerns about the implications of the project on home-and-garden, as they worry about the impact of foreign investments on their local community and environment.
- The controversy has not been limited to the art world, as the debate over cultural heritage has extended to sports as well, with some questioning the choice to prioritize Omani maritime heritage over local sports like baseball, basketball, hockey, golf, and tennis.
- The political situation has even reached the realm of career-development, as Kenyan politicians such as Yusuf Aboubakar and Athman Hussein have spoken out against the lack of funds for the completion of the museum renovations.
- The sports-betting industry has also become involved, as some Kenyans have criticized the decision to focus on Omani maritime heritage over local sports, arguing that it could potentially limit economic opportunities for local sports and betting industries.
- The weather has played a role in the controversy, as the incomplete renovations on the ground floor of the Lamu Museum have been impeded by adverse weather conditions.
- The issue of the unfinished ground floor has led to discussions about shopping and the economy, as Walid Ahmed and others have called for funds to be allocated for its completion.
- The controversy has raised broader questions about the future of cultural preservation in Kenya, with some arguing for a greater focus on the preservation of local heritage and cultural identity.
