The Royal Academy is courageously confronting its entanglement in Britain’s historical web of slavery and empire—a journey met with anticipated resistance from traditionalists. While recent arrivals from Mars might be spared the familiarity of ongoing assaults on institutions like the National Trust for their perceived 'wokeness', the terrestrial audience is well-versed in such critiques. The latest debacle, amusingly involving the absence of butter in scones, epitomizes the relentless backlash against any perceived departure from established norms.

Even as politicians like Kemi Badenoch attempt to rewrite history by attributing Britain's wealth solely to events like the Glorious Revolution of 1688, more enlightened voices recognize the complexities. Amidst the cacophony of revisionist rhetoric, certain stalwart institutions are undertaking the arduous task of self-examination. The Royal Academy of Arts, an august institution with roots entwined in Britain’s colonial past, is now under scrutiny.

Like the British Museum before it, the Royal Academy traces its origins to the height of Britain’s industrial and imperial expansion in the 18th century. Founded by George III, its halls have borne witness to centuries of British power, often intertwined with the exploitation of peoples both at home and abroad. Recent revelations have brought to light uncomfortable truths—academicians who profited from the slave trade, inherited wealth stained with the blood of the oppressed, and artists whose fortunes were built upon the backs of colonized peoples.

Take, for instance, Johann Zoffany, whose lucrative career was fueled by painting flattering portraits of British colonialists in India, beneficiaries of a system built on conquest and exploitation. These uncomfortable truths force us to reckon with the darker chapters of our shared history, challenging us to confront the uncomfortable realities that lie beneath the surface of our national narrative. As the Royal Academy grapples with its past, it beckons us all to engage in a broader conversation about our collective heritage and the ongoing implications of historical injustice.

Accompanying its introspective endeavors, the Royal Academy has unveiled "Entangled Pasts," a sweeping exhibition running until the close of April. The title, tinged with euphemism, sets the stage for a nuanced exploration—one where no statues are figuratively toppled, yet the indictment is unmistakable. Through a rich tapestry spanning over two centuries of artistic output by Royal Academicians and others, the exhibition subtly presents a damning narrative.

Firstly, it reaffirms a truth often overlooked: the presence of black and Asian individuals in Britain predates the iconic arrival of the Empire Windrush at Tilbury. Yet, their existence was often obscured or relegated to the periphery. Early portraits reveal poignant reminders—the youthful ayah (nanny) relegated to a corner, black sitters unnamed or left incomplete.

Secondly, it exposes the complicity of those who profited from slavery and colonialism, many of whom were acutely aware of the blood staining their wealth. A telling tableau from 1783 captures British commissioners negotiating a peace treaty with America, the conspicuous absence of one delegate perhaps signaling his discomfort with his tainted fortune as the tide of public opinion turned against slavery.

Lastly, the exhibition underscores the persistent disparities faced by black and Asian artists in Britain, who continue to struggle for recognition on par with their white counterparts. Frank Bowling's evocative portrayal of the Middle Passage—an agonizing journey of enslaved Africans across the Atlantic—serves as a poignant reminder. It took until the ripe age of 85 for Bowling to receive his first major retrospective, highlighting the systemic biases entrenched within creative circles.

From the realms of art to journalism and finance, the specter of ethnicity looms large over British institutions, underscoring the enduring struggle for equitable representation. While exhibitions like "Entangled Pasts" offer glimpses into uncomfortable truths, they are but a fraction of the solution in a landscape still marred by entrenched inequalities. Regrettably, these issues persist, a stark reminder that the wounds of history remain raw and relevant.

In conclusion, "Entangled Pasts" serves not only as a retrospective gaze into Britain's complex historical tapestry but also as a mirror reflecting the ongoing struggles for equity and representation. As we navigate the intricate threads of our shared past, we must confront the uncomfortable truths laid bare by the exhibition and recognize the urgent need for systemic change. Beyond the confines of art galleries and museums, the challenges of ethnicity and its representation persist across various facets of society, demanding collective action and introspection. While exhibitions like "Entangled Pasts" offer valuable insights, they are but a starting point in the broader journey towards a more inclusive and just future. Only through sustained effort and a commitment to dismantling entrenched inequalities can we hope to truly reckon with our past and build a more equitable tomorrow.