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 Olayinka Akanbi

The third quarter of 2026 offered a clear picture of where Nollywood stands today. Across July, August and September, filmmakers told stories centred on family, culture, history, identity and everyday life.

Some films looked inward at personal struggles, while others drew from folklore, real-life events and Nigeria’s past.

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There were also signs of change in how films are distributed, with streaming platforms increasing their investment in original content.

July was defined by personal, character-driven stories.

One of the standout releases was Alechenu, directed by Biodun Stephen, which followed the journey of an autistic teenager travelling from Oyo State to Lagos in search of the mother he had never met.

The film explored themes of family, identity and perseverance through a simple yet emotional narrative.

Around the same period, Lami focused on the life of a retired soldier grappling with the emotional effects of war, examining trauma, healing and second chances through the experience of one man trying to rebuild his life.

Another notable release, The Return of Omotara Johnson, marked the return of veteran actress Bukky Wright in a crime drama centred on family secrets and unresolved past conflicts.

Later in the month, films such as Wire Wire and Njem: The Journey continued the trend of storytelling rooted in real-life experiences and social issues.

In August, attention shifted towards history, tradition and culture.

The month opened with Sweet 16, a coming-of-age family drama that also drew attention as one of the final completed performances by the late actor Alexx Ekubo.

This was followed by Ikenga: The Last Festival, a story centred on tradition, power and destiny, featuring veteran actors Pete Edochie and Patience Ozokwor.

Released around the same period, Aláhùn (The Weaver) drew heavily from Yoruba mythology and folklore, highlighting a growing interest in indigenous narratives and local fantasy storytelling.

Towards the end of the month, King Kosoko revisited the life of one of Lagos’ most influential historical rulers, reflecting a broader shift by filmmakers towards exploring Nigeria’s history on screen.

By September, the conversation had expanded beyond storytelling to include audience engagement and distribution models.

One of the month’s notable releases was Mama Deola’s Wedding Story, which became the first original production from Nigerian streaming platform Kava. Its release underscored the increasing role of local streaming services in shaping the industry.

Other films focused on contemporary life and younger audiences.

Ordinary People examined the lives of everyday Nigerians, while 19 explored themes of identity, ambition and relationships from a youthful perspective.

One Gidi Night captured the rhythm and character of Lagos, using the city itself as a central narrative element.

The month also saw the release of Black Market, which generated widespread attention due to efforts to stage a Guinness World Record attempt for the largest film screening audience at Tafawa Balewa Square in Lagos.

Taken together, these releases reflect an industry in transition one that is expanding its storytelling range while experimenting with new platforms, audiences and formats.

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Nollywood is not only telling more stories; it is also redefining how those stories are created, distributed and experienced.

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