Ayọ̀ Akínwándé examines restitution, spiritual provenance, and the unresolved tensions between royal authority, state power, and museum-making in Benin City. The conflict between the MOWAA and the Benin Court goes back to the colonial days.
[in German] Parts of the collection of the closed, missionary Werl museum "Forum der Völker" in Germany are under suspicion. Three collections may have originated from colonial looting. The German Lost Art Foundation sees a need for further research.
For more than fifty years, my father quietly assembled one of the most significant private collections of Nigerian and West African art ever held in a family home. Carvings. Bronzes. Masks. Ritual objects. Works that carried centuries of history, belief, and mastery.
In 2025, the Museum of Fine Arts in Boston (MFA) achieved two significant ownership resolutions. First, the museum was asked to rescind and return the long-term loan of Benin Kingdom artwork to the private collection of Robert Owen Lehman. Both of these resolutions speak to the facts that (1) restitution does not have to be a zero-sum game, and (2) museum restitution has expanded beyond what the letter of the law dictates.
Andreas Roth shows, the real story of the coral regalia does not fit the postcolonial narrative some want to attach to these artefacts. They do not provide a precedent for the return of Benin Bronzes.
Barnaby Philips discovers one more return of a Benin object from the Netherlands and further analyses what went wrong in Benin City: Two days before the aborted viewing of the Museum of West African Art (MOWAA), Oba Ewuare II visited his ally Monday Okpebholo, the governor of Edo State. ‘Please stop the opening of the MOWAA.’
Western museums are returning the Benin Bronzes to Nigeria, but a state-of-the-art museum to display them is still a long way off. Alex Marshall saw hundreds of Benin Bronzes while reporting this article in Benin City and Lagos, Nigeria.
December 15th, at 4 pm (Lagos time), the International Repatriation Network (IRN) will host an online session exploring what restitution and repatriation mean for diverse communities and stakeholders in Nigeria today.
Open Restitution Africa has published a case study that is centred around 119 cultural belongings from the historic Benin Kingdom. This collection includes intricately cast bronzes, carved ivories and terracotta. They serve dually as both historical artefact and active carriers of spiritual and cultural knowledge, many of which remain relevant in Benin cultural and religious life today.
On November 9th, 2025, as 250 Nigerian and international guests – donors, diplomats, and the heads of national cultural agencies – gathered in Benin City at the new Museum of West African Art’s opening event, protesters in red baseball caps broke into the museum, forcing its closure. Cultural Property News analyses what happen, and why.
Julien Volper, acurator at the Royal Museum for Central Africa (Tervuren, Belgium), is writing here in a personal capacity: The Dutch restitution of Benin objects, earlier this year, was motivated by Dutch self-interest, both of the government and of the museum that has to let go a collection.
Oba Ewuare II today, during a courtesy visit to the Government house spoke explicitly on the proposed plan to build Benin Royal Museum which the past Governor of the state, Mr. Godwin Obaseki converted to EMOWAA and later MOWAA.
Dan Hicks argues that the allegation that his book The Brutish Museums is “part of a trend away from pro-British perspectives” is contextualised and refuted. On the contrary, this reply argues, openness and transparency about the colonial past and present is a key element of the reclamation and
reimagining of Britishness that is unfolding in the 2020s – this unfinished period that the book calls “the decade of returns”.
The German state Baden-Württemberg acknowledges its historical responsibility and is committed to provenance research in order to identify and return colonial cultural goods that were acquired unlawfully. The start was in 2019, when Hendrik Witbooi's Bible and whip were returned to Namibia.
The public display of artefacts looted by British colonial forces at the new Museum of West African Art was supposed to be the crowning glory of a decades-long restitution effort. What went wrong?
In 2021, the University of Aberdeen returned a looted Benin object to the Oba of Benin, becoming the first UK institution to agree to an unconditional return. Neil Curtis [University of Aberdeen] outlines the process of giving back a pillaged object without a repatriation request being made.
[ English ] The exhibition "Benin Dues" --> Guided Tour in English with curator Alice Hertzog on 24 August 2025
[ German ] Vom Umgang mit historisch belastetem Kulturerbe – in Ethnologie und Recht on 30 September 2025
The article 'Journey of No Return: The Impact of Looted Heritage on Nigeria’s Cultural Legacy' explores the profound impact of looted heritage on Nigeria’s cultural legacy, highlighting the historical, cultural, and economic implications of the plundered artifacts.
The Museum of Fine Arts, Boston (MFA), today returned two works of art from the Benin Kingdom to His Royal Majesty Omo N’Oba Ewuare II, Oba of Benin, in a ceremony at the Nigeria House in New York City.
The path to true restitution requires more than symbolic gestures, demanding that Britain repeal its obstructive laws, France accelerate its glacial restitution process, and all former colonial powers establish transparent frameworks for repatriation.
Hotel Drouot has auctioned off three Benin objects, without guaranteeing that they are not related to the British invasion of the Kingdom of Benin in 1897. The provenance only goes to the 1950s and 1960s. It also auctioned Nok and Sokoto objects from Nigeria, both of which are on ICOM's Red List for West Africa.
Nigeria has received 119 Benin Bronzes from the Netherlands — the largest physical repatriation of looted artefacts since the 1897 British invasion of the Benin Kingdom. According to an expert, some of the pieces date back to between the 14th and 16th century.
Benin Digital mentions two objects in Portugal, one of which is in the Sociedade de Geografia de Lisboa. Sofia Lovegrove Pereira sends a podcast [ in Portuguese ], Reparacoes historicas - Preterito imperfeito (28 08 2023), which argues that the Sociedade has indeed one on display but another 76 in store.
The paper 'Nkali and Kolo-collecting in Eastern Nigeria: interrogating colonial collections of ọfϙ and Ikenga, Igbo objects of sovereignty and authority' explores the changing narratives of Ọfϙ and Ikenga, sacred objects of sovereignty and authority among the Igbo of Eastern Nigeria, currently in the Museum of Archaeology and Anthropology (MAA), University of Cambridge (UK).
The Museum of Fine Arts (MFA) in Boston returned 27 Benin objects to Robert Lehman, from whom it had received them on loan. Kwame Opoku: The museum's attempt to keep up an ethical image is not convincing.
The repatriation of African art is gaining momentum, but a number of highly important and symbolic pieces remain in the hands of the continent’s former colonisers.
In an unprecedented move for a United States arts institution, the Museum of Fine Arts, Boston, will return a promised gift of Benin Bronzes to collector Robert Owen Lehman and close the collection’s dedicated gallery on April 28.
European governments negotiate restitutions only with the governments of countries of origin. The collections they negotiate usually are state-owned and contain valuable, not rarely iconic objects. The path followed by governments of former colonies is quite similar. It is the path of what Laurajane Smith called the authorized heritage discourse (AHD), where only a limited part of a country’s heritage dominates in national narratives and public policies. This approach has serious limitations.
Julien Volper argues that the Netherlands practises double standards when it comes to restitution. On the one hand, the country returns 119 Benin objects to Nigeria. On the other, it was reluctant to return to Belgium parts of a 16th-century altarpiece by Pasquier Borman, stolen from a church of in Boussu (Belgium) in 1914, and it cut back its international assistance to the global south.
British lawmakers, NGOs, and researchers urge the UK to address a 'legislative vacuum' permitting the display of African ancestral remains from the colonial era. T
Despite promises from Western institutions to return the artefacts, the process has been slow and piecemeal, raising questions about the sincerity of these efforts.
RM* saw reports from AP, Hyperallergic, DutchNews, Jerusalem Post, ArtDependence, Punch, Arise, Voice of Alexandria, Devdiscours, Pinnacle Gazette and AllAfrica.
The British Museum has come under fresh pressure to hand over its Benin Bronzes after the Netherlands returned more than 100 of the artefacts to Nigeria.
The volume offers new findings on the historical and current significance of artifacts and highlights the current dialogue with partners from Nigeria and the diaspora, reflecting on the methods of cooperative research and the future of the objects currently kept in Swiss collections.
At the request of Nigeria, the Netherlands returns 119 ‘Benin Bronzes’ to Nigeria, 113 from the National Collection and six owned by the Rotterdam municipality. [Later this week, RM* will add the relevant links].
The National Commission for Museums and Monuments (NCMM) with the support of the Federal Ministry of Art, culture , tourism and the creative economy signed a historic management agreement with the Oba of Benin, Omo N’Oba N’Edo Uku Akpolokpolo Ewuare II at the Royal Palace in Benin..
[ open access ] 'Displacing and Displaying the Objects of Others - The Materiality of Identity and Depots of Global History' brings a diverse range of contributions inspired by research from the "Hamburg’s (post-)colonial legacy" research center.
[ in German, in English ] The German government has again defended the return of the Benin bronzes to Nigeria. It was good and right to return them without conditions. Nigeria can decide where they stay, said the parliamentary state secretary in the foreign office, Müntefering, in the Bundestag.
Germany had hoped that by returning 20 Benin Bronzes to Nigeria last year it was “healing the wounds” of colonialism. But when it emerged that ownership of the repatriated objects will pass to the king of Benin rather than the Nigerian state, Berlin found itself facing a public relations nightmare.
Former President Buhari’s decision that Benin objects go back to the Oba of Benin (and thus not to the National Commission for Museums and Monuments [NCMM] or to the government of Edo Sate in which the Benin Kingdom is located) continues to cause unrest.
Unlike the British Museum and other UK national museums, the Royal Collection is able to deaccession, provided that this is advised by its trustees and authorised by the monarch. The collection is not owned personally by Charles, but he holds it in trust as sovereign to pass on to his successor.
Museum in Koko, Niger Delta, commemorates important exiled merchant prince Nanna Olomu . The restitution focus in Nigeria should not only be on Benin objects.
After receiving a letter from the Thai government, it was not difficult for the Asian Art Museum in San Francisco to determine it was showing looted objects. Before their return the museum holds an exhibition. Is this becoming a trend?
Who owns stolen art? Today on the show, the bloody journey of a Benin Bronze from West Africa to the halls of one of England's most elite universities — a tale of imperialism, betrayal, and the making of the modern world.
A civil rights group in New York, USA, Restitution Study Group, has petitioned the United Kingdom’s Charity Commission to reject the repatriation of looted Benin objects to Nigeria because the West African nation also “profited from slavery.”
Colonial looted art is finally being returned to its countries of origin. New problems lie ahead, as former colonies now fear the return of looted art may take the place of a comprehensive reparation for colonial crimes.
During the European expansion constant fighting and violence and the taking of spoils of war went hand-in-hand. Palaces, shrines, homesteads and entire villages were plundered and destroyed. In the restitution debate, the focus is mostly on state-collections resulting from these confrontations. There is ample evidence, however, that many more parties were involved. This blogpost has some of the evidence.
The Friends of African and African American Art of the Detroit Institute of Arts’ 2023 nominee for the Margaret Herz Demant African Art Award, Dr. Kwame Tua Opoku, is a retired United Nations Legal Advisor and a recognized voice in African repatriations.
The American Alliance of Museums has brought out a special issue Museum as part of a larger project exploring the next horizon of museum practice with regard to voluntary repatriation, restitution, and reparations. The articles in this issue provide a window into practices regarding the Benin-objects, lost items of the Yaqui, voluntary returns, and the application of NAGPRA.
What his piece makes also interesting is what Nelly Kalu writes about her childhood: When I was a child, my father would tell me stories of the deities in our village and their significance to our lives, even in our names
‘I’m a strong believer that trustees of museum collections should have autonomy over those collections, and be able to make the case whether they should retain them within the UK or loan them to other museums around the world – or indeed begin a conversation around restitution and repatriation.’
The Digital Benin project provides a central place to see artifacts that are now scattered around the Global North. Its organizers hope it will be the first step toward repatriation.
Who should own Benin objects returned to Nigeria? And what about the Oba of Benin commenting, prior to 2023, that the Benin objects to be returned to Nigeria should be returned to him and not the federal government?
The debates on the ownership of contested cultural objects bring forth questions regarding the representation of history. But might these debates also lead to the fabrication of history?
There are obvious similarities between the episode in 1874 and 1896 (Asante Kingdom) and 1897 (Benin Kingdom). Both kingdoms have been asking for restitutions for decades. Barnaby Philips explores why is it taking Nigeria so long to put its returned treasures on display?
Omo N’ Oba N’ Edo, Oba of Benin, has taken custody of two looted royal stools from the German government, symbolising a significant step in the right direction.
The Federal Government has vowed to pursue all necessary measures, including legal action in international courts, to recover cultural artefacts stolen from Nigeria.
In 'The Making of Museums in Nigeria - Kenneth C. Murray and Heritage Preservation in Colonial West Africa' Amanda H. Hellman, director of the Vanderbilt University Fine Arts Gallery, writes: In November 1927, Kenneth Crosthwaite Murray (1902-1972) left for Nigeria to develop the art program in the British colony.
Nigerian creators Shobo and Shof, known for New Masters, are set to debut their latest project, Bronze Faces, a gripping art heist drama that brings real-world issues to the comic stage in 2025.
In November 2022, the Horniman Museum in London brought back six Benin objects to the Oba of Benin. Horniman’s Nick Merriman was rather enthusiastic. Independent researcher Mike Wells takes a hard look at Merriman’s historical and factual claims regarding the Horniman’s ‘research and consultation process’ and the museum’s arguments supporting return of the bronzes.
From this contribution by BBC correspondent Adaobi Tricia Nwaubani: Kenneth C Murray, a British colonial art teacher, was a key figure in Nigeria’s museum history. Murray was invited to Nigeria at the request of Aina Onabolu, a European-trained Yoruba fine artist who convinced the colonial government to bring qualified art teachers from the UK to Nigerian secondary schools and teacher training institutions.
Claim of the Restitution Study Group: The Supreme Court has denied certiorari in the case Deadria Farmer-Paellmann v. Smithsonian Institution, allowing the return of 29 Benin Bronzes to Nigeria to proceed without further legal challenge.
