Netherlands returns Benin artefact to Oba Ewuare II as the restitution of African cultural treasures gains momentum during his 10th coronation anniversary

The Kingdom of the Netherlands has returned a centuries-old Benin artefact to the Oba of Benin, Oba Ewuare II, in Benin City, Edo State, as part of activities marking the monarch’s 10th coronation anniversary on October 21, 2026, in a move that adds momentum to international efforts to restore African cultural heritage to its place of origin.

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The artefact, which had been held in the collection of Museum de Fundatie in the Netherlands since 1937, was presented to the monarch by the museum’s executive director, Beatrice von Bormann, in the presence of Portugal’s Ambassador to Nigeria, Paulo Martins Santos.

The handover highlights renewed efforts by museums and governments to address the history of African cultural objects held in foreign collections and reconnect communities with artefacts of historical, cultural and spiritual significance.

Speaking during the presentation, von Bormann said investigations had traced the artefact’s origins to the 18th century.

She expressed satisfaction at its return to the Benin Kingdom, noting that the object had travelled across different parts of the world before reaching its place of origin.

She also explained that the artefact carried spiritual symbolism associated with reincarnation and Olokun, the Benin deity linked to the sea and wealth.

The return comes amid a broader international campaign to secure the restitution of African cultural treasures taken during colonial encounters.

The Benin Kingdom has been at the centre of these efforts, with historical objects from the former Benin Kingdom dispersed among museums and private collections across several countries.

Receiving the artefact, Oba Ewuare II reflected on the longstanding historical relationship between the Benin Kingdom and Portugal, recalling contacts between the two societies dating back to the 15th century.

The monarch said early encounters included efforts to introduce Catholicism into the kingdom but stressed that the Benin people had maintained their traditional religious beliefs and spiritual practices.

“We have a very unique link with the Portuguese. When I was told that the Portuguese Ambassador was around, it was like telepathy, because I had been thinking already about Portugal,” Oba Ewuare II said.

The monarch also expressed surprise at learning that the Vatican recognised African traditional religions, describing the development as significant to wider discussions about the recognition of indigenous African spirituality.

The presentation added historical and cultural significance to the celebrations marking Oba Ewuare II’s 10th coronation anniversary, while drawing attention to the role of restitution in preserving the identity and heritage of the Benin Kingdom.

The return of the artefact also reinforces calls for continued cooperation between African institutions and international museums to establish the origins of disputed objects and facilitate their return where appropriate.

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For the Benin Kingdom, the recovery represents more than the return of an old object. It offers an opportunity to preserve historical knowledge, sustain cultural traditions and pass an important part of the kingdom’s heritage to future generations.

By Halima Adaba,

It was a featubal if the people. It was for the anciebt town of Ile Ife, which the Yoruba race refards as the Source.

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And ut was a festivsl for the King, Arole Oduduwa, Oonirisa, Adeyeye Enitan Ogunwusi, Ojaja II.

And so between September 24 and 28th 2026, the annual featuval dazzjed in all its white glory.

Tge Monarch paid the traditional ancestral homage and offered propitiation as part of the sacred rites of the Olojo Festival.
It was a powerful expression of Yoruba heritage, spirituality, and enduring tradition.

Call it a collection of beautiful moments, faces, colours and cultural expressions.

Every frame tells a story.

Every face carries the energy.

Every moment keeps the heritage alive.

Undoubtedly one of the most sacred cultural celebrations in Ilé-Ifẹ̀. It marked a day associated with creation, thanksgiving, ancestral heritage, and the sacred appearance of the Ooni of Ife wearing the revered Aàrẹ crown.

There were also the devotees of the famed god of thunder – Sàngó who were hardly conspicuous at the festival.

Many other traditional groups came out with candor, showing a powerful expression of Yoruba cultural identity, spiritual devotion, and respect for the ancient traditions of Ilé-Ifẹ̀.

Devotees of Sàngó bekieved the ‘appearance’ of the god of thunder on Seotember 26th could be understood as a symbolic meeting of ancestral heritage, spiritual devotion, and the celebration of creation.

It was a moment when the sounds of drums, chants, and traditional praise poetry brought the history of the Yoruba people to life.

Although Olojo is closely associated with Ogun, the god of iron, and the sacred traditions of Ile-Ife, the presence of Sàngó devotees reflected the rich diversity of Yoruba spiritual heritage.

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As a participant enthused at the festival, “To witness Sàngó Olúkòso emerge on Olojo Festival day is to witness a living expression of history, identity, and ancestral pride.”

The contemporary art and photography exhibition “Wake Up!” is back again for a second edition.

Curated by Awele Onwordi, Wake Up! 2 exhibition pays homage to the Nigerian youth and burgeoning street culture which many of its contributing artists reference in their works.

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Titled “Young, Wild, Free”, the exhibition celebrates the creativity, resilience, freedom and cultural influence found in Nigerian youth.

Taking aim at societal issues and economic concerns, the exhibit reflects the youth and their refusal to compromise or bow despite all the challenges stacked against them while charting youth culture through art, music, fashion, skateboarding, photography and community.

The exhibition will be held, once again, at the Angel and Muse Gallery at 25 Sumbo Jibowu street off Ribadu Road off Awolowo Road in Ikoyi.

It will open on Saturday 5 September 2026 and will run until 11 September 2026
This second edition which focuses on celebrating, nurturing and exploring artistic practices rooted in youth and street culture will feature works from DENCITY and SUPERGLIDER HOUSE.

Exhibiting artists include Ajilore Kehinde – their work is deeply influenced by Nigerian street culture and works of other artists like Slawn, Peters Ejiro, etc, Chuka Onwordi – graphic designer who embodies themes of death, melancholy and beauty in his works, ZIDYEP – Abuja based creative whose works move between digital and physical spaces through art, graphic design and air brushing , Franklyn Okoye – graphic designer and artist whose works explore themes of identity and hyper-reality, Awele Onwordi – founder & curator of WAKE UP and multidisciplinary artist whose practice spans character art, creative logo design, album covers and more , Oluchi Kogolo – digital illustrator whose work explores street culture, personality and storytelling through a raw and playful visual style and Kozetuo Apeji – multidisciplinary artists who work explores experimental approaches to problem solving through both digital and traditional art forms.

Commenting on the exhibition in her curatorial statement, Awele noted that “despite economic instability, limited opportunities and socio-political challenges, Nigerian youth continue to shape culture through music, fashion, art, skateboarding, raves, photography and community.”

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Continuing and harping on the raison d’etre of the exhibition she said, “Young, Wild and Free exists to celebrate Nigerian youth while also creating a platform that supports and amplifies them.”