Protest at Benin City’s New Museum of West African Art Over Benin Bronzes and Oba Authority

 

A scheduled preview event for the highly anticipated Museum of West African Art (MOWAA) in Benin City, Edo State, descended into chaos on Monday as protesters stormed the venue, expressing anger over what they described as a “disrespect” to the revered Oba of Benin and a “misappropriation” of Benin cultural heritage. The demonstration, which involved dozens of local youths, traditional chiefs, and activists, forced security operatives to temporarily suspend the event.

 Organizers had planned to showcase sections of the museum’s upcoming exhibitions, including artefacts linked to the historic Benin Kingdom, when the protesters interrupted with chants, placards, and demands for recognition of the Oba’s supreme authority over Benin cultural properties.

The Museum of West African Art, spearheaded by the MOWAA Trust and designed by acclaimed Ghanaian-British architect Sir David Adjaye, was envisioned as a major cultural and educational center dedicated to showcasing African creativity, heritage, and history. The project aims to house repatriated artefacts from the Benin Expedition of 1897, when British colonial forces looted thousands of sacred bronzes, ivory carvings, and royal regalia from the Benin Kingdom. 

Construction of the museum began in 2021 in collaboration with local and international partners, including the British Museum, Germany’s Humboldt Forum, and Nigeria’s National Commission for Museums and Monuments. The initiative has been widely celebrated abroad as a milestone for restitution and the return of African artefacts long kept in European collections.

However, since its inception, the project has faced strong opposition from the Royal Court of Benin and other traditional stakeholders, who argue that all looted artefacts, collectively known as the Benin Bronzes, belong strictly to the Oba of Benin and should be returned directly to the palace, not to any new institution or trust. 

At Monday’s preview event, protesters carried banners reading “The Bronzes Belong to the Palace, Not the Museum” and “Respect the Oba’s Heritage.” They accused MOWAA’s trustees of sidelining the Benin monarch, Oba Ewuare II, and attempting to rewrite the ownership narrative of the stolen artefacts.

One of the protesters, Chief Igbinosa Aideyan, told reporters that the Benin people would never allow “foreign interests and local elites” to manage the sacred heritage of the kingdom without the explicit consent of the Oba. He said, “These artefacts were taken from our ancestors during the invasion of 1897. They were not taken from a museum; they were taken from the Oba’s palace.

 So, they must be returned to where they came from — not to another Western-style institution claiming to speak for our culture.” Several others echoed similar sentiments, warning that the museum risks becoming a “colonial structure in disguise,” controlled by international donors and scholars rather than the indigenous custodians of Benin tradition.

In response to the protests, representatives of the MOWAA Trust expressed surprise at the disruption and called for calm, insisting that the museum was built “for the people of Benin and West Africa at large.” They emphasized that the institution was never intended to undermine the authority of the Benin monarchy but to complement its efforts in preserving and promoting the kingdom’s rich heritage. A spokesperson for MOWAA, Ms. Ekaette Okon, stated that the museum’s management has engaged in ongoing dialogue with the Royal Court and other stakeholders. 

She said, “MOWAA is not in conflict with the Oba or the people of Benin. Our mission is to create a world-class platform where Nigerian and African art can be preserved, studied, and celebrated. We understand the sensitivity of heritage ownership, but this project is a collaboration that seeks to return what was stolen and to keep it accessible to future generations.” The spokesperson added that security agencies quickly restored order after the incident and that no injuries or property damage were recorded.

Reacting to the unrest, the Edo State Government urged both sides to exercise restraint and pursue dialogue instead of confrontation. The Commissioner for Arts, Culture, and Tourism, Hon. Osayande Ogie, reiterated the government’s support for the repatriation of the Benin Bronzes but emphasized that all stakeholders, especially the Oba’s palace, must be duly respected and consulted.

 At the federal level, the National Commission for Museums and Monuments issued a brief statement reaffirming its commitment to transparency in the handling of returned artefacts. The statement read, “The Federal Government recognizes the historical and spiritual significance of the Benin Bronzes and assures all parties that the process of their restitution will continue in line with international best practices and the laws of Nigeria.”

Analysts note that the conflict over MOWAA goes beyond artefacts and reflects a deeper tension between modern governance structures, international cultural diplomacy, and traditional authority. The Benin Kingdom, one of the most historically sophisticated civilizations in West Africa, has always considered its royal artefacts sacred symbols of divine kingship. 

For many locals, placing them under a government or private trust rather than the palace is tantamount to sacrilege. Dr. Ayo Oladipo, a cultural historian at the University of Ibadan, described the situation as “a clash between restitution and re-colonization.” He said, “While the West celebrates the return of African heritage, what we are witnessing in Benin is a struggle over who controls that heritage. It’s a reminder that decolonization is not just about bringing artefacts home but about restoring cultural sovereignty.”

As of Monday evening, MOWAA officials confirmed that the museum’s official opening, earlier scheduled for December, may be delayed pending consultations with community leaders and royal authorities. Security around the site has been tightened to prevent further unrest.

 Observers say the resolution of this dispute could set a precedent for how future restituted artefacts are handled across Africa, where similar debates about ownership and representation are emerging in countries like Ghana, Cameroon, and the Democratic Republic of Congo. For now, Benin City stands at the crossroads of pride and pain — celebrating the return of its stolen treasures while wrestling with the question of who should guard them.