»No es arte.« Tayrona and Kogi Heritage
project, 2009–2016, Colombia, Germany, Netherlands, UK
„No es arte.“ is an interdisciplinary research group founded in 2009 by Christoph Balzar and Hanune Shalati. It revolves around the harsh critique of the world of Western museums and the capitalist art market by the Kogi people from Colombia. The Kogis are the descendants of the Tayrona. Anthropologists widely consider them the traditional owners of the famous Tayrona gold works, many of which are presented in European, North and South American museums. Dignitaries of the Kogis point out that archaeologists and tomb raiders took those alleged „museum objects“ from sacred sites against their ancestors’ will and that those objects are still part of their religious tradition.
In their language, they call them „sewa,“ which is a synonym for „my beloved“ on the one hand and „holy/sacred“ on the other. From the perspective of the dignitaries of the Kogi people, the so-called mamas, they are not merely artworks elaborately crafted out of gold but beings who desire freedom and obeisance in the form of offerings. In a museum, sewas are described as „locked up and spiritually malnourished…“ (Mama Shibulata in: Geo Magazin, 4/2007). The Kogis‘ criticism of their sewas being in museums can be summed up as follows: „No es arte.“
Left: Pre-Columbian Tayrona goldwork, depicting a symbol of the sun deity „Haté Sé,“ exhibited in the artificial lighting of an art gallery vitrine; circa 800 A.D.; crafted from tumbaga; dimensions: 12.0 cm x 8.0 cm x 3.5 cm.
Right: „Haté Sé,“ communicating with those who hold him.
In 2007, a delegation of the Kogi people officially requested the return of the sewas that were on display at the Museo del Oro in Bogotá. The museum staff declined this request, arguing that Tayrona gold works are part of world heritage and that a museum is the most appropriate and secure place for their preservation. As a result, the Kogi mamas‘ plea for the repatriation of the sewas was denied.In 2009, Christoph Balzar and Hanune Shalati took it upon themselves to arrange for the return of similar sewas to their rightful owners within the Kogi community. They identified authentic Tayrona gold works at a prominent archaeological gallery in London and obtained them through legal purchase, with financial support from the art collector Werner Dohmen. The repatriation process was overseen by the Kogi people’s political representative body, Gonawindua Tayrona, in Santa Marta, Colombia. In Europe, the process was facilitated by the NGOs Nabi Nunhue in Pasto, Colombia, and SKOP (Stichting Kleinschalige Ontwikkelingsprojecten) in Nijmegen, the Netherlands.In 2010, a group of Kogi mamas consulted oracles to determine the steps required to return the sewas acquired in Europe to their original sacred locations. These sewas typically come in pairs, representing dualistic principles in harmony. Therefore, they could only be returned to their traditional sacred sites if they were reunited with their specific partner sewas beforehand. Since their partner sewas couldn’t be located in the London gallery’s collection, it was assumed that they were lost or possibly destroyed. It is well known that a significant portion of the Tayrona gold works was melted down during colonialism. Hence, an alternative solution was needed to reunite the Tayrona sewas with their partners.Working alongside the Dutch NGO SKOP and the Colombian project Nabi Nunhue, the Kogi mamas devised a plan. Earlier, they had gathered approximately €40,000 in donated old gold to establish the foundation of a future guild of Kogi goldsmiths (project „Gold for the Kogi“). In 2007, a team of specialists, composed of both Kogi and individuals of European descent, created a new golden sewa using parts of this old gold. This sewa depicted the spirit of the frog („mukui sewa“), symbolizing new life and a new beginning, showcasing the deep connection between the Tayrona tradition and the contemporary practices of the Kogi people.This team played a key role in the „No es arte“ project by crafting and invoking new partner sewas for the sewas repatriated from London. These Kogi sewas were fashioned based on historical Tayrona exhibits at the Museo del Oro, such as a sewa representing the sun known as Hate Sé, which was reunited with its partner sewa representing the earth mother, Haba Sé. Although the mamas had to relearn the practical aspects of working with gold and employ non-traditional, modern tools and techniques, they maintained their spiritual traditions, which provided the ceremonial framework for invoking sewas.During the spring equinox of 2015, the Tayrona sewas were finally reunited with sewas created by the Kogi and people of European descent. High-ranking mamas transported them to a secret-sacred site hidden high in the expansive mountain regions of the Sierra Nevada de Santa Marta. For the general public and the project team, the story concludes at this point. However, what remains is a unique form of feedback: Many Kogi mamas regard Europe, with its colonial history and present-day patriarchal influence, as „under the influence of toxic masculinity.“ In response to their oracles, the team of goldsmiths forged and invoked another sewa of the earth mother, Haba Sé, in 2013. This divine feminine sewa was sent to Europe to help restore balance and is currently under the care of the research group „No es arte.“ until a suitable public preservation site is identified.
In 2007, a delegation of the Kogi people officially requested the return of the sewas that were on display at the Museo del Oro in Bogotá. The museum staff declined this request, arguing that Tayrona gold works are part of world heritage and that a museum is the most appropriate and secure place for their preservation. As a result, the Kogi mamas‘ plea for the repatriation of the sewas was denied.In 2009, Christoph Balzar and Hanune Shalati took it upon themselves to arrange for the return of similar sewas to their rightful owners within the Kogi community. They identified authentic Tayrona gold works at a prominent archaeological gallery in London and obtained them through legal purchase, with financial support from the art collector Werner Dohmen. The repatriation process was overseen by the Kogi people’s political representative body, Gonawindua Tayrona, in Santa Marta, Colombia. In Europe, the process was facilitated by the NGOs Nabi Nunhue in Pasto, Colombia, and SKOP (Stichting Kleinschalige Ontwikkelingsprojecten) in Nijmegen, the Netherlands.In 2010, a group of Kogi mamas consulted oracles to determine the steps required to return the sewas acquired in Europe to their original sacred locations. These sewas typically come in pairs, representing dualistic principles in harmony. Therefore, they could only be returned to their traditional sacred sites if they were reunited with their specific partner sewas beforehand. Since their partner sewas couldn’t be located in the London gallery’s collection, it was assumed that they were lost or possibly destroyed. It is well known that a significant portion of the Tayrona gold works was melted down during colonialism. Hence, an alternative solution was needed to reunite the Tayrona sewas with their partners.Working alongside the Dutch NGO SKOP and the Colombian project Nabi Nunhue, the Kogi mamas devised a plan. Earlier, they had gathered approximately €40,000 in donated old gold to establish the foundation of a future guild of Kogi goldsmiths (project „Gold for the Kogi“). In 2007, a team of specialists, composed of both Kogi and individuals of European descent, created a new golden sewa using parts of this old gold. This sewa depicted the spirit of the frog („mukui sewa“), symbolizing new life and a new beginning, showcasing the deep connection between the Tayrona tradition and the contemporary practices of the Kogi people.This team played a key role in the „No es arte“ project by crafting and invoking new partner sewas for the sewas repatriated from London. These Kogi sewas were fashioned based on historical Tayrona exhibits at the Museo del Oro, such as a sewa representing the sun known as Hate Sé, which was reunited with its partner sewa representing the earth mother, Haba Sé. Although the mamas had to relearn the practical aspects of working with gold and employ non-traditional, modern tools and techniques, they maintained their spiritual traditions, which provided the ceremonial framework for invoking sewas.During the spring equinox of 2015, the Tayrona sewas were finally reunited with sewas created by the Kogi and people of European descent. High-ranking mamas transported them to a secret-sacred site hidden high in the expansive mountain regions of the Sierra Nevada de Santa Marta. For the general public and the project team, the story concludes at this point. However, what remains is a unique form of feedback: Many Kogi mamas regard Europe, with its colonial history and present-day patriarchal influence, as „under the influence of toxic masculinity.“ In response to their oracles, the team of goldsmiths forged and invoked another sewa of the earth mother, Haba Sé, in 2013. This divine feminine sewa was sent to Europe to help restore balance and is currently under the care of the research group „No es arte.“ until a suitable public preservation site is identified.