A high-profile opening ceremony for the newly built Museum of West African Art (MOWAA) in Benin City, southern Nigeria, descended into chaos on Sunday after protesters stormed the event, forcing organizers to suspend activities and evacuate guests. The incident has reignited long-standing tensions over the ownership and custodianship of the famous Benin Bronzes, which have become symbols of both colonial injustice and cultural identity for the Edo people.
Witnesses say the protest began shortly after invited guests, including foreign diplomats, government officials, and journalists, had arrived for a private preview ahead of the museum’s public opening. About two dozen demonstrators, reportedly loyal to the Oba of Benin, Ewuare II, broke through the museum gates chanting slogans demanding that the institution be placed under the direct authority of the royal palace. Some carried placards bearing messages such as “Our Heritage Belongs to the Palace” and “Return the Bronzes to the Oba.”
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Security officers at the scene attempted to contain the crowd, but the situation quickly escalated, prompting the organizers to cancel the event. Guests were escorted off the premises, and several areas of the museum complex were temporarily shut down. There were reports of minor damage to the museum’s front pavilion and exhibition space, though no injuries were recorded.
The protesters’ grievances center on who should rightfully manage and display the Benin Bronzes—thousands of intricately crafted metal plaques and sculptures looted by British colonial forces during the 1897 invasion of the ancient Benin Kingdom. While some of these artefacts are being repatriated from museums across Europe, disagreements have emerged between the Nigerian federal government, the Edo State authorities, and the Benin royal court over where they should be housed.
MOWAA, a multi-million-dollar project partly supported by international partners, was envisioned as a state-of-the-art cultural institution dedicated to preserving and showcasing West African art and heritage. Its construction was intended to bolster tourism and position Benin City as a leading cultural destination on the continent. However, critics, including members of the royal court and traditional institutions, argue that the project marginalizes the Oba’s authority over Benin’s heritage.
One protest leader told reporters, “We are not against the idea of a museum. What we are saying is that anything concerning the Benin Bronzes must be under the control of the Oba, who is the custodian of our history and culture. MOWAA should not operate independently of the palace.”
In response, the museum’s management issued a statement condemning the disruption and stressing that MOWAA is a non-profit, community-centered organization meant to complement—not replace—the efforts of the Benin royal court. “We respect the Oba and the traditions of the Benin Kingdom,” the statement read. “Our mission is to preserve and promote the shared artistic heritage of West Africa in partnership with local communities and institutions.”
The Federal Ministry of Art, Culture, Tourism and the Creative Economy also weighed in, describing the protest as “unfortunate” and calling for calm. A spokesperson said the ministry is in contact with Edo State officials and security agencies to ensure the safety of staff and guests, while also reaffirming the government’s commitment to protecting Nigeria’s cultural heritage.
Cultural observers say the confrontation reflects deeper unresolved issues in Nigeria’s heritage management system, particularly the balance between traditional custodianship and modern governance. The controversy also touches on sensitive debates about restitution — as Western museums continue to negotiate the return of looted artefacts to African countries.
For many in Benin City, the Benin Bronzes are more than just art; they are living symbols of identity, resilience, and historical continuity. As one local historian put it, “Whoever controls the Bronzes controls the narrative of Benin’s past and future. That’s why emotions run so high.”
The disruption at MOWAA’s opening has cast uncertainty over the museum’s future operations. While the organizers have postponed further public events, discussions are ongoing to mediate between the museum’s management and the royal palace. The outcome of these talks will likely determine not just when MOWAA can resume its activities, but also how Nigeria navigates the broader challenge of reclaiming and managing its cultural treasures in a way that honors both tradition and modernity.
For now, the Museum of West African Art stands silent — its grand vision overshadowed by the powerful reminder that cultural heritage, for all its beauty and value, remains deeply intertwined with questions of identity, ownership, and power.
