AFRICA · CULTURE
Key Facts
—A turning point: Looted African art is returning home in growing numbers, as former colonial powers ease centuries-old resistance.
—France moves: In March 2026 France returned the Djidji Ayôkwé, a sacred “talking drum” taken from Côte d’Ivoire in 1916.
—A faster law: French lawmakers advanced a framework in 2026 to speed returns, replacing a slow, object-by-object process.
—Ghana’s regalia: Late in 2025, Ghana’s Asante king received 130 gold and bronze royal items from British and South African museums.
—Benin bronzes: Thousands of bronzes looted from the Kingdom of Benin in 1897 are trickling back to Nigeria from Western collections.
—Building capacity: New museums, including one in Benin City, are being built to receive and care for returning works.
Looted African art is beginning the long journey home, as France, Britain and others return colonial-era treasures that spent more than a century in foreign museums. From Benin bronzes to a sacred Ivorian drum, 2026 is proving a turning point for restitution.
Why looted African art is finally returning
For generations, the great museums of Europe filled their halls with objects taken during the colonial era, often by force. African nations asked for them back and were usually refused.
That is changing. A mix of political pressure, public opinion and painstaking research has pushed governments to act.
The result is a slow but real homecoming of looted African art, from royal regalia to sacred instruments.
The returns of the past year
The clearest signal came from Paris. In March 2026, France handed back the Djidji Ayôkwé, a three-metre “talking drum” seized from Côte d’Ivoire in 1916.
Lawmakers then advanced a framework law to make future returns faster, replacing a system that required a separate act for each object. Across the continent, new institutions are preparing to receive the works.
Late in 2025, Ghana’s Asante king received 130 gold and bronze treasures from British and South African institutions, many looted in the 19th-century Anglo-Asante wars.
The long shadow of the Benin bronzes
No collection looms larger than the Benin bronzes, thousands of sculptures stripped from the Kingdom of Benin, in today’s Nigeria, by British troops in 1897. They scattered across the world’s museums.
Over the past few years, institutions in Germany and Britain have begun transferring ownership back to Nigeria. Each return chips away at a symbol of colonial plunder.
The bronzes have become the test case for whether restitution can move from gesture to norm.
Africa builds a home for its heritage
Returning objects raises a practical question: where will they live? African governments and philanthropists are answering with new museums and conservation labs.
A major museum in Benin City, Nigeria, has been built partly to receive the returning bronzes and to train a new generation of curators.
The point is not only to display the works but to rebuild the expertise that colonialism scattered.
A debate that reaches beyond museums
Restitution is not only about objects in glass cases. For many communities, the works carry spiritual and political meaning that a display label cannot capture.
The Djidji Ayôkwé, for instance, was used to send messages across long distances, a voice silenced for more than a century abroad. Its return is felt as the homecoming of a living thing.
That emotional weight is part of why the issue has moved from academic seminars to national politics.
Who decides what comes back
The hardest questions are legal ones. Many Western museums are barred by their own charters from giving objects away, forcing governments to change the law first.
France’s move toward a framework statute is meant to cut through that tangle. Britain and others are watching to see whether it works.
Campaigners warn that loans, however generous, are not the same as ownership. The goal, they say, is return, not rental.
What comes next
Momentum is real, but the backlog is vast, and many institutions still resist. Ownership, loans and long-term care remain contested at every step.
Campaigners want returns written into law rather than granted case by case, so they cannot be undone by a change of government.
For many Africans, the stakes are simple: these are not just artefacts but pieces of identity, finally coming home.
Money is part of the puzzle, since conservation, insurance and security all cost more than a single handover. Donors and governments are being asked to fund the long tail.
There is also a question of scholarship, as objects long studied abroad return to institutions still building their archives. Knowledge, like the art, has to travel home.
The homecoming, in other words, is only the beginning.
The story is still being written, museum by museum and law by law. But the direction of travel, after decades of refusal, has clearly and finally changed.
More: Ghana news in English, every day from The Rio Times.
Frequently Asked Questions
What is looted African art?
It refers to cultural objects, from royal regalia to sculptures, taken from African societies during the colonial era, often by force, and held in foreign museums.
What did France return to Côte d’Ivoire?
In March 2026 France returned the Djidji Ayôkwé, a sacred “talking drum” taken in 1916.
What are the Benin bronzes?
Thousands of sculptures looted from the Kingdom of Benin, in present-day Nigeria, by British forces in 1897; they are gradually being returned from Western collections.
Where will returned works be kept?
African countries are building new museums and conservation centres, including a major museum in Benin City, Nigeria, to receive and care for them.
Connected Coverage
Africa is also pressing for new World Heritage listings and staging its art on global stages, from portraiture at New York’s MoMA; the fight over looted heritage even reaches a reopened museum in Brazil.
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