_(Continued from last week)_
By Francis Odupute , Okwuokei ijeoma and Ubiomo Oghenedoro Efe
There is no gainsaying that the return of Benin artefacts is more than museums shipping boxes to Nigeria. It is history coming home, spiritual healing for a people whose ancestors were robbed, and a practical step toward fairness in global culture. Many people in the West, including museum directors, government ministers, scholars, and activists, made hard choices and sacrifices to do the right thing. Many Nigerians — from His Royal Majesty, the Oba of Benin and the National Commission for Museums and Monuments (NCMM) leaders to local funders and artists — organized, negotiated, and prepared to welcome the artefacts home.
For Nigerian youths, seeing the original Benin bronzes they have hitherto been reading about on the pages of textbooks, on websites, blogs and the social media, now physically in Benin City, gives you your history back. It is something to be proud of, learn from, and build new art and stories from. For artists and tech creators: These objects are fuel for new art, films, music, and digital projects that can connect Nigeria to global audiences on equal terms. For the world: Returning stolen culture shows that countries can admit wrongs and fix them. It sets a global model for justice, respect, and partnership. This shared effort shows how respect, honesty, and care can rebuild bonds between peoples and make the world a fairer place for cultural heritage.
As The Nigerian Observer feels the pulse of the people it directly affects, Nigerians are baring their minds on the real import of what is about to happen in their very eyes: Mr. Isaac Asemota of Semo Gallery told The Nigerian Observer that when the artifacts were still abroad, it was used by the westerners as a source of generating revenue. And economically speaking, he suggested that if the artifacts were used in the same way it was in the western world, it is going to be beneficial to the Nigerian economy in the long run. But he ended by expressing his lack of confidence in the Nigerian system. In his words, “will they be used that way for the good of the people?”
Mr. Okah, a visitor to Owie Gallery, an art shop in Benin City, said that the artifacts were items of spiritual significance and that issues relating to it should be managed by the Palace. In his words, “I can’t casually talk about the artifacts because, for me it belongs to the Palace”. He continued: “The economic effect of the artifacts on our economy solely depends on the Governor of Edo State and the Benin Monarch”.
Mr. Tyson Oghenetejiri, an artist popularly called “Coffee Boy” had a rather peculiar view of the matter; speaking with him he stated, “Culturally, the true value of the Benin artefacts was revealed to us only after the West recognized and showcased them. Their prestige abroad forced us to reflect: “If our ancient works could generate pride, scholarship, and revenue for them, then they must carry immense value for us too. Ironically, the theft awakened our awareness of what we had”. “Coffee Boy” said the effect he felt these returned artifects would have on the economy and future of Nigeria. He said, “Economically for Nigeria, the artefacts now represent not only heritage but also potential tourism revenue, global attention, and a rebranding of our image. But the challenge lies in whether we can preserve, maintain, and present them with the dignity they deserve.”
The contemporary artist ended by saying, “My philosophy is that everything happens for a reason. If those works had not been taken, I doubt if we would still have many of them intact today. Their survival came at a painful cost, but it preserved a part of our soul. So yes, they were stolen, but they were also safeguarded. We owe it to history, and to ourselves, to now guard them with gratitude and responsibility.”
Another respondent, Don Pedro, an artist, posited that the return of the Benin artifacts to Nigeria holds profound cultural and economic significance, shaping the nation’s future in several ways such as reclaiming identity and history: The Benin Bronzes are not merely art objects they are historical records and symbols of the pre-colonial Kingdom of Benin. Their return allows Nigeria and the Edo people specifically, to reclaim their narrative, history, and cultural ownership
National Pride and Inspiration: The repatriation process itself is a source of national pride, representing a successful effort to right historical injustices. The physical presence of these masterpieces can inspire a new generation of Nigerian artists, historians and citizens. It will build a renewed appreciation for their heritage and a sense of cultural continuity.
The returned artifacts are crucial for cultural restoration in the sense that they can be used for public exhibitions, educational programs and research therefore allowing Nigerians to engage directly with their history. The Economic Significance it has to the future of Nigeria is that it will be a Boost to Tourism in that The return of the Benin Bronzes will draw for a major cultural tourism By housing these world-renowned artifacts in a new museum, such as the planned Museum of West African Art (MOWAA), Nigeria can attract international and domestic visitors. This will create a new economic ecosystem, with potential for job creation in hospitality, transportation, and related industries. Also he said Museum The need to properly house and preserve the returned artifacts will increase investment in museum infrastructure, staff training and exhibition design. Furthermore he stated that Economic Empowerment through The development of a vibrant cultural sector around the returned artefacts can lead to economic empowerment for local communities and for artist too.
Mrs. Mairo another respondent added that these artifacts will help to restore our lost cultural heritage and would remind other countries that Nigeria will ultimately regain her lost glory.
