BENIN CITY, NIGERIA – The scheduled grand opening of the highly anticipated Museum of West African Art (MOWAA) was indefinitely postponed this week following disruptive protests, revealing a deep-seated power struggle over control of Nigeria's priceless cultural artifacts, notably the Benin Bronzes. The turmoil, which saw protesters storm a private preview event on Sunday, 9 November 2025, underscores the complex interplay of traditional authority, state politics, and international diplomacy in the global movement for artifact restitution—a challenge that resonates strongly with ongoing efforts in Kenya and East Africa.

The ambitious $25 million museum, designed by the renowned Ghanaian-British architect Sir David Adjaye, was poised to be a landmark institution for the continent. However, its launch was derailed when a group of men, some reportedly armed with wooden bats, breached the museum's courtyard during a preview for donors and diplomats, chanting slogans in support of the Oba of Benin, the city's traditional ruler. MOWAA officials promptly cancelled the week's events, including the public opening planned for Tuesday, 11 November 2025, and advised guests to suspend travel plans.

A Clash Over Custodianship

The conflict centres on the ownership and control of the Benin Bronzes, thousands of intricate plaques and sculptures looted by British soldiers from the palace of the Oba of Benin in 1897. For decades, Nigeria has campaigned for their return from Western museums. While many institutions have begun repatriating the items, a fierce local dispute has emerged over their final destination.

His Royal Majesty, Omo N'Oba N'Edo Uku Akpolokpolo, Ewuare II, the current Oba of Benin, insists that he is the rightful custodian of the artifacts, which were stolen from his ancestors. A 2023 decree by former Nigerian President Muhammadu Buhari affirmed the Oba's ownership of all repatriated Benin artifacts. The Oba and his supporters argue that the new museum should be named the 'Benin Royal Museum' and fall under the palace's authority, not that of an independent trust. Protesters' placards read “MOWAA Steals Our Heritage” and “Respect the Oba,” reflecting a perception that the museum is an attempt to privatize the kingdom's patrimony.

MOWAA's leadership, however, maintains that it is an independent, non-profit institution focused on the broader scope of West African art, both historical and contemporary. In a statement released on Tuesday, 11 November 2025, the museum clarified that it “neither holds nor has ever claimed ownership of any Benin Bronzes.” Phillip Ihenacho, the museum's Executive Director, stated that misinformation has fueled the conflict and that MOWAA is not competing with the Oba's plans for a separate royal museum. He emphasized that the independent governance structure is crucial for securing international funding and ensuring the museum's long-term stability, free from political shifts.

Political Undertones and International Concerns

The controversy is further complicated by local politics. The museum project was championed by the former Edo State Governor, Godwin Obaseki, whose administration contributed approximately ₦3.8 billion (Nigerian Naira). However, the current governor, Monday Okpebholo, has aligned with the Oba. In a dramatic move, Governor Okpebholo reportedly revoked the museum's Right of Occupancy on 12 November 2025, declaring the land would revert to its original use as a hospital, though this was later disputed by the German Ambassador to Nigeria, Annett Günther, who called the report a “social media scam.” Nigeria's Minister of Art, Culture, and the Creative Economy, Hannatu Musa Musawa, condemned the disruption and stated the federal government was monitoring the situation with “deep concern.”

The turmoil has raised alarms among the project's international backers, which include the German and French governments, the British Museum, and philanthropic organizations like the Ford and Getty Foundations. These partners have invested heavily in MOWAA, viewing it as a state-of-the-art facility capable of properly conserving and exhibiting the returned artifacts, thereby strengthening the case for further restitution.

The Kenyan Parallel: A Shared Struggle for Heritage

The challenges faced by MOWAA mirror the complexities of cultural restitution in East Africa. Kenya has been actively campaigning for the return of thousands of artifacts held in Western museums, including over 30,000 items believed to have been stolen or illicitly acquired during the colonial era. A prominent case is the repatriation of Vigango—sacred carved wooden memorial statues of the Mijikenda people. Like the Benin Bronzes, these are not mere artworks but objects of deep spiritual and communal significance, considered to embody the spirits of ancestors.

In recent years, several US institutions have returned Vigango to the National Museums of Kenya. However, the process is fraught with challenges, including identifying the specific communities they belong to and navigating the high costs of repatriation. In August 2024, Kenya's Cabinet Secretary nominee for Gender, Culture, Arts, and Heritage, Stella Lang'at Soi, pledged to prioritize the return of all stolen artifacts. The National Museums of Kenya has also initiated projects like the International Inventories Programme to create a comprehensive database of Kenyan artifacts held abroad, a critical first step in the restitution process.

The Nigerian museum's troubled debut serves as a cautionary tale. It highlights that the physical return of artifacts is only one part of a larger, more intricate process. For both Kenya and Nigeria, successfully reclaiming cultural heritage involves navigating internal politics, respecting traditional authorities, and building sustainable, trusted institutions to manage these returned treasures for future generations. As the world watches Benin City, the outcome will undoubtedly influence the global conversation on restitution and the future of Africa's invaluable heritage.