A remarkable tale of cultural heritage, survival, and unexpected connections has emerged surrounding a unique golden ornament from the Asante Empire, a powerful West African state that flourished in present-day Ghana. The “Asante spider,” a meticulously crafted gold ornament once adorning a ceremonial sword, recently became part of the collection at the Dallas Museum of Art, but its journey involved a desperate barter for life in the American Southwest.
The Asante Empire, also known as the Ashanti Empire, held sway over the Gold Coast from the early 18th century until the beginning of the 20th century. Its rulers wielded significant power, symbolized by elaborate regalia, including intricately decorated swords. These swords weren’t merely weapons but potent emblems of authority and spiritual connection. The spider ornament, crafted from a gold-copper-silver alloy, was a particularly exclusive symbol, reserved for the Asante king himself, representing wisdom and leadership. According to the Dallas Museum of Art, the spider measures 4 by 2.9 inches (10.2 by 7.3 centimeters).
The story of this particular spider begins in 1884, when Sir Samuel Rowe, the British governor of the Gold Coast, received it as a gift from Bosommuru, the chief spokesman of the Asante royal court in Kumasi. Bosommuru, representing King Kwaku Dua II, presented the spider as a gesture of friendship. However, British regulations prohibited officials from accepting gifts, so Rowe returned the ornament to Kumasi with Robert Low Brandon-Kirby, a British envoy. The circumstances of how Brandon-Kirby then came to possess the spider remain unclear, but his subsequent actions would dramatically alter its path.
Brandon-Kirby traveled to the United States and partnered with a Scottish businessman, James Cree, to purchase land in the Southwest. However, his arrogant and dismissive behavior quickly alienated the local population. As Roslyn Walker, a curator at the Dallas Museum of Art who extensively researched the spider’s history, recounts, a family story details how Brandon-Kirby learned of a planned lynching. To save his life, he sold the gold spider to Cree “at a bargain price” and was reportedly smuggled out of the area in a pickle barrel. This dramatic turn of events highlights the artifact’s unexpected role in a life-or-death situation.
The Asante spider remained within the Cree family for generations before being acquired by the Dallas Museum of Art in 2014. Walker emphasizes the artifact’s rarity, stating that “no other cast gold spiders have surfaced in [Asante] collections to date.” This makes the Dallas Museum of Art’s acquisition particularly significant, offering a unique glimpse into the artistry and symbolism of the Asante Empire.
The Asante Empire and the Anglo-Ashanti Wars
The Asante Empire’s history is intertwined with its interactions with European powers, particularly Great Britain. The empire prospered through trade, including gold and, tragically, the transatlantic slave trade, as noted by Britannica. The late 19th century saw a series of conflicts known as the Anglo-Ashanti Wars, as Britain sought to expand its control over the Gold Coast. It was during this period of colonial expansion that many royal Asante artifacts, including hundreds of gold objects, were taken from Ghana. The spider ornament likely left Ghana during one of these conflicts, though its specific route remained obscured until recent research.
Symbolism and Royal Power
The spider’s symbolism within Asante culture is profound. According to Walker’s research, Bosommuru explicitly stated that the spider emblem was reserved for the king and represented wisdom. The Asante Empire, which existed from 1701 to 1901, developed a sophisticated political and military structure, as detailed by Wikipedia. Ceremonial swords, adorned with gold ornaments like the spider, were central to the expression of royal authority and the performance of important rituals.
The story of the Asante spider is a compelling reminder of the complex history of cultural exchange, colonial conflict, and the enduring power of art. Its journey from the royal court of Kumasi to a desperate trade in the American Southwest, and finally to a museum dedicated to preserving cultural heritage, underscores the interconnectedness of global history. Further research into the Asante Empire and its material culture promises to reveal even more about this fascinating period in West African history.
As museums continue to grapple with the ethical implications of collecting artifacts acquired during periods of colonialism, the story of the Asante spider serves as a potent example of the need for transparency and collaboration with source communities. The Dallas Museum of Art’s acquisition and research into the spider’s provenance represent a positive step towards acknowledging and addressing the complex legacies of the past.
Disclaimer: This article provides historical information and does not offer professional advice.
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