BENIN CITY, NIGERIA – The grand opening of the highly anticipated Museum of West African Art (MOWAA), scheduled for Tuesday, 11 November 2025, has been indefinitely postponed after protesters stormed its Benin City campus during a private preview event on Sunday, 9 November. The disruption, which saw foreign dignitaries and guests evacuated, throws a harsh spotlight on a bitter dispute over the ownership and control of the priceless Benin Bronzes, artifacts with deep historical and cultural significance that were looted by British soldiers in 1897.

According to multiple reports, a group of around 20 men, some reportedly armed with wooden bats, entered the museum courtyard, vandalised a reception area, and demanded guests leave. Phillip Ihenacho, the museum's director, told Agence France-Presse (AFP) that he believed the protesters were “representatives from the palace” of the Oba of Benin, Ewuare II, the traditional ruler of the Benin Kingdom. All guests were safely escorted from the premises.

The incident is the culmination of simmering tensions over the custodianship of the Benin Bronzes, thousands of which have been the subject of decades-long repatriation campaigns. While MOWAA was partly conceived as a state-of-the-art home for returned artifacts, a March 2023 decree by then-President Muhammadu Buhari designated the Oba of Benin as the sole rightful owner of all repatriated Benin Bronzes. This decision has effectively sidelined the museum from housing the very treasures it was built to protect, leading to the current impasse.

A Royal Dispute Over Heritage

The conflict pits the independent, non-profit MOWAA, backed by international donors including the German government and the British Museum, against the traditional authority of the Benin Royal Palace. The Oba and his supporters contend that the museum, originally proposed as the 'Benin Royal Museum', was usurped and rebranded as MOWAA, thereby undermining the kingdom's authority over its own heritage. During a visit to the Edo State Governor on Friday, 7 November, Oba Ewuare II stated, “The world recognizes it as the Benin Royal Museum, and it must remain so.” He also voiced his support for the protesters.

In response to the growing controversy, Edo State Governor Monday Okpebholo has announced the formation of a special committee, chaired by former governor Adams Oshiomhole, to review MOWAA's governance and its relationship with the palace. The governor has publicly sided with the Oba, declaring the “issue of the Museum of West African Art is over” and that it will be restored to its original purpose as a royal museum.

MOWAA officials have consistently stated that the institution is an independent non-profit and does not claim ownership of the Benin Bronzes. The museum was launched five years ago by Nigerian businessman Phillip Ihenacho with support from the former state governor, Godwin Obaseki, a political rival of the current administration, adding a layer of political tension to the dispute.

Implications for African Restitution Efforts

The turmoil in Benin City carries significant implications for the broader movement to repatriate African artifacts from Western museums. The dispute over ownership within Nigeria could complicate future returns, as international institutions may hesitate amid uncertainty over where to send the objects. Germany, which in 2022 signed a landmark agreement to transfer ownership of over 1,100 Benin Bronzes to Nigeria, has been a leader in restitution efforts. The current conflict could serve as a cautionary tale for other negotiations.

For Kenya and the wider East African region, where discussions around the return of cultural heritage are also active, the events in Nigeria offer a critical case study. George Abungu, former director-general of the National Museums of Kenya, has noted that while African countries have long requested the return of looted items, a lack of clear national policies and laws on repatriation can create challenges. The MOWAA crisis underscores the necessity of establishing robust legal and institutional frameworks to manage returned heritage, ensuring that internal disputes do not derail the overarching goal of cultural reclamation. As witnessed in Benin City, the question is not just whether artifacts will return, but who will control their narrative and future upon their arrival home.