This seems like an appropriate time to repost this comment from 2017. It seems very peculiar to me that one politician puts up a poster and the next one tears it down, buildings are torn down when they no longer meet the commercial or aesthetic needs of the current generation, but once a person has had himself poured in bronze or carved in stone.
Of course, it is something requiring debate and consideration — for statues as well as for buildings — and the massivity of these constructions is designed to thwart an overly hasty disposal. Surely no one can say that Rhodes has been hastily disposed of, or with insufficient consideration. At this point if Oriel College decides to retain its statue of Rhodes, it is taking an active decision that the complete record of Cecil Rhodes is such that that college wishes to commend and publicly honour.
Here is my comment from August 2017:
This story happened to a friend of a friend — FOF in urban legend technical parlance — when I was a student at Yale. Said FOF had applied for a Rhodes scholarship, and was invited for an interview. Reading the FOF’s application letter stating that he sought to “further the legacy of Cecil Rhodes”, one interviewer asked, “When you refer to the legacy of Cecil Rhodes, do you mean in particular his legacy as a white supremacist or as a pedophile?”
I’m not sure if it’s credible that a representative of the Rhodes Trust could speak so disparagingly of its founder — this may be an example of British establishment values refracted through the prism of 1980s American student sentiment — but the principle is solid: Many who advocate leaving monuments to dubious figures of the past in situ — whether Cecil Rhodes or Robert E. Lee — complain suggest, instead of “rewriting history” that this statuary needs to be seen “in context”. But they rarely concern themselves with providing the full context.
Now that Charlottesville has deposed its racist monument and Oriel College has kept its own, I wondered if the Oxford City Council might propose a solution amenable to all. Accepting the right of Oriel and its not-at-all-racist historically-minded alumni who refused to donate to a Rhodes-free institution, there is still plenty of space in front of the facade for more context. As it stands, the college places Rhodes in the context of two 20th-century kings and four 15th-16th-century college provosts and bishops. The city (or enterprising protestors) could contribute more context by placing an exhibition out front of famous British racists — for example, Houston Stewart Chamberlain and Enoch Powell — with the Rhodes statue in the centre.