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The ornate gilded copper headgear, which features images of Jesus Christ and the Twelve Apostles, was unearthed after refugee-turned-Dutch-citizen Sirak Asfaw contacted Dutch 'art detective' Arthur Brand. (Photo by Jan HENNOP/AFP) (Photo by JAN HENNOP/AFP via Getty Images)

A Stolen 18th Century Ethiopian Crown Has Been Returned from The Netherlands

The crown had been hidden in a Dutch apartment for 20 years.

In one of the latest developments around art repatriation, a stolen 18th century Ethiopian crown that was discovered decades ago in the Netherlands, has been sent back home.

Sirak Asfaw, an Ethiopian who fled to The Netherlands in the '70s, first found the relic in the suitcase of a visitor in 1998, reports BBC Africa. He reportedly protected the item for two decades, before informing Dutch "art crime investigator" Arthur Brand and authorities about his discovery last year.

The crown is one of only 20 in existence and features intricate Biblical depictions of Jesus, God and the Holy Spirit. Historians believe it was given to the church by the warlord Welde Sellase several centuries ago.

Read: Bringing African Artifacts Home


Ethiopia's Nobel Peace Prize-winning President Abiy Ahmed received the crown on Thursday. "Today Ethiopia receives a precious crown stolen several years ago and taken to the Netherlands," wrote the president on Twitter. "I am grateful to Sirak Asfaw and the Netherlands government for facilitating its return."

The crown is just one of hundreds of thousand reportedly looted African cultural relics believed to be housed in Western institutions and by private owners abroad. In 2018 Britain's Victoria and Albert Museum infamously offered to return treasures stolen form the empire of Emperor Tewodros II "on long-term loan."

In 2018, France's President Emmanuel Macron vowed to return 26 looted treasures to Benin, which it had previously colonized, however a 2019 report from The New York Times, suggests that not much additional progress has been made since.

Last year, we spoke with curator and art expert, Niama Sandy about what it would take to bring Africa's stolen treasures home. "I can't help but see irony in European institutions fighting to hold on to the very history it has claimed we do not have," said Sandy.

Other items recently returned include a 15th century Namibian stone cross that was stolen by German invaders in the 17th century, and a 19th century sword that was returned to Senegal from France last November.

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Photo by Don Paulsen/Michael Ochs Archives/Getty Images

Hugh Masekela's New York City Legacy

A look back at the South African legend's time in New York City and his enduring presence in the Big Apple.

In Questlove's magnificent documentary, Summer of Soul, he captures a forgotten part of Black American music history. But in telling the tale of the 1969 Harlem Cultural Festival, the longtime musician and first-time filmmaker also captures a part of lost South African music history too.

Among the line-up of blossoming all-stars who played the Harlem festival, from a 19-year-old Stevie Wonder to a transcendent Mavis Staples, was a young Hugh Masekela. 30 years old at the time, he was riding the wave of success that came from releasing Grazing in the Grass the year before. To watch Masekela in that moment on that stage is to see him at the height of his time in New York City β€” a firecracker musician who entertained his audiences as much as he educated them about the political situation in his home country of South Africa.

The legacy Masekela sowed in New York City during the 1960s remains in the walls of the venues where he played, and in the dust of those that are no longer standing. It's in the records he made in studios and jazz clubs, and on the Manhattan streets where he once posed with a giant stuffed zebra for an album cover. It's a legacy that still lives on in tangible form, too, in the Hugh Masekela Heritage Scholarship at the Manhattan School of Music.

The school is the place where Masekela received his education and met some of the people that would go on to be life-long bandmates and friends, from Larry Willis (who, as the story goes, Masekela convinced to give up opera for piano) to Morris Goldberg, Herbie Hancock and Stewart Levine, "his brother and musical compadre," as Mabusha Masekela, Bra Hugh's nephew says.

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