In the 17th century, the Kingdom of Benin, which is now the Nigerian state of Edo, was both militarily powerful and artistically thriving. Benin city was the kingdom’s capital and residence of the Oba (king) and his royal palace and court. At the time, a Dutch explorer described the royal palace as “so vast that there was no end to it.” The palace was adorned with tens of thousands of artworks collectively known today as the “Benin Bronzes.” The royal family commissioned artistic guilds to create the collection, which includes elaborate plaques, commemorative heads, human and animal figures, royal regalia, and personal ornaments.
The artworks served ceremonial and commemorative functions in the daily life of the kingdom’s court. As courtly art, the intention was to glorify and record the history of the Oba (divine king) and his imperial power, as well as to honour the Iyoba (queen mother). The pieces depicting the royal family, traditions, military exploits, and courtly life were used to adorn the royal palace. The Benin Bronzes are not only works of art, but also a record of the cultural history of the Kingdom of Benin.
The Benin Bronzes were stolen by the British Empire in 1897. Officially, the mission of the delegation led by the vice consul general of the Niger Coast Protectorate to Benin was to negotiate with the Oba of Benin. Some historians contend that the delegation was actually a reconnaissance mission masquerading as a diplomatic effort. The delegation had informed the kingdom of their planned visit, but they were subsequently informed that it would be postponed. No foreigner was permitted to enter the city while rituals are being performed. The delegation disregarded this warning and was later ambushed by Oba warriors outside the southern end of the city. Two only survived.
The following week, word reached London, and a punitive naval expedition was immediately organised. British forces sacked and destroyed the city of Benin upon their arrival. Following the conquest, British forces pillaged the art that had taken centuries to amass in the Royal Palace and noble residences. According to the official British account, the attack was justified because locals ambushed a peaceful mission and the expedition ended a reign of terror. The artworks were deemed ‘bounties of war,’ so their ownership was up for debate as soon as the attack commenced.
Following the expedition, some of the artefacts were acquired by British officials and the British Museum, while others were sold to other European and American museums. The premium the Benin Bronzes were granted on the art market reflects their superiority. The legal ambiguity surrounding the artwork’s rightful owner has rendered it nearly impossible for Nigeria to return the works to Edo State.
British Museum and the Ethnological Museum of Berlin hold the two largest collections of Benin Bronzes. The third largest collection is housed in numerous Nigerian museums, most notably the Nigerian National Museum in Lagos.
In the latter decades of the twentieth century, Benin Bronzes were either sold or returned to Nigeria. However, the largest and most significant pieces are currently located abroad. Regardless of ethics, the repatriation effort is arduous because the legality of ownership is under intense debate. The Ethnological Museum in Berlin previously stated that the Benin Bronzes would be returned to Nigeria by 2022. The return of the first pieces in December 2022 demonstrated their commitment to returning the pieces, albeit slowly. The British Museum, on the other hand, is more adamant about their ‘right’ and other legal grounds to keep the objects. Under the British Museum Act of 1963 and the Heritage Act of 1983, it is prohibited for the museum to return objects.
Undoubtedly, the repatriation process will be arduous and uncertain. The return of the Benin Bronzes to Edo State will allow its residents to reconnect with their history in its original state. In addition, the pieces will entice tourists to visit their museums and participate in Edo and Nigerian culture on a domestic level.