The Museum of Fine Arts (MFA) in Boston has returned a bronze relief plaque and a commemorative head, both part of the storied Benin Bronzes, to Nigeria’s Ministry of Art, Culture, Tourism, and Creative Economy. This repatriation marks a tangible step in the country’s ongoing efforts to recover artefacts taken during the 1897 invasion of the Benin Kingdom.
The handover ceremony, held at Nigeria’s Ministry of Foreign Affairs, was more than a formal transfer of objects. It was a symbolic acknowledgement of a painful chapter in the country’s history.
“As much as this occasion is symbolic to Benin, it is also symbolic to Nigeria’s struggle,” Olugbile Holloway, head of the National Commission for Museums and Monuments (NCMM), said, emphasising the broader cultural and historical significance of the return.
Why It’s Important Now That It’s Returned
The two returned items represent just a fraction of the hundreds of artefacts looted from the royal palace in Benin City by British forces in 1897. Many of these works date back to the 1500s and are prized not only for their craftsmanship but also for their role as historical records of Benin’s royal lineage, rituals, and artistic achievements.
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The recovered artifacts. Credit: Ministry of Arts, Culture and Creative Economy
Scattered across museums and private collections worldwide, they have long been a focal point for debates over restitution, ownership, and the legacies of colonialism.
The Handover and Repatriation Process
While MFA Boston has participated in repatriations before, this handover highlights the growing global attention to origin research and the ethics of museum collections. Nigeria’s Foreign Affairs Ministry, in collaboration with MFA officials, facilitated the process.
The ceremony reinforced the importance of diplomatic negotiation and careful documentation, demonstrating that returning cultural property often requires more than good intentions. It also requires persistence and structured dialogue.
Cultural Significance for Nigeria
The return resonates deeply for both Nigeria and the Kingdom of Benin. For centuries, these bronzes were central to royal ceremonies and governance, embodying the authority of the Oba and the history of the Edo people.
“This is a historic moment for Nigeria, the Ministry, and the good people of the Benin kingdom,” said Culture Minister Hannatu Musa Musawa, noting that discussions are ongoing to secure the return of additional artefacts held abroad.
Yet the question of custody remains delicate. The Oba of Benin asserts that the bronzes belong to the royal family, while concerns have been raised over the role of the newly constructed Museum of West African Arts in Benin City. Balancing historical ownership, public access, and cultural stewardship continues to be a complex issue.
A Global Shift in Museum Ethics
The MFA Boston’s decision fits into a broader international trend. Museums in Europe and the U.S., including institutions in Germany, the Netherlands, and Britain, have begun returning Benin Bronzes and other African artefacts as part of a reassessment of colonial-era acquisitions.
These restitutions are shaped by ethical considerations, public pressure, and the recognition that cultural heritage belongs first and foremost to its original peoples.
Each return is a small but meaningful correction of historical wrongs. For Nigeria, every piece that comes home strengthens both national identity and the preservation of history, offering younger generations a direct connection to their cultural roots.
Cultural Restitution
The return of these two bronzes from Boston may be modest in scale, but its impact is significant. It underscores the growing expectation that more museums will follow suit, and it reinforces Nigeria’s ongoing push to recover its scattered cultural property.
Beyond diplomacy and policy, it is also a reminder that art carries stories, stories of resilience, identity, and the right to remember. As more artefacts find their way home, Nigeria moves closer to reclaiming the tangible heritage of the Benin Kingdom, one at a time.
