Daniel Otera
Nigeria’s rich tapestry of ancient artifacts, from intricate bronze sculptures to towering monoliths, stands as a testament to one of Africa’s most enduring civilizations. These treasures, born from the skilled hands of artisans in kingdoms like Benin, have long symbolized the continent’s artistic prowess and spiritual depth. Yet, for over a century, many have been scattered across the globe, victims of colonial raids that stripped nations of their cultural soul.
Today, as the world grapples with the legacies of the empire, Nigeria is stepping forward in diplomatic talks with Switzerland to reclaim pieces of this heritage while forging new bonds in arts and culture.
The Kingdom of Benin, flourishing from the 13th to the 19th century in what is now southern Nigeria, produced some of the world’s most celebrated metalworks. Its bronzes actually cast in copper alloys depict royal figures, warriors, and daily life, serving as historical records and ritual objects. In 1897, British forces launched a punitive expedition against Benin City, sacking the royal palace and looting thousands of these items. Estimates suggest over 5,000 artifacts were taken, with around 3,000-10,000 works seized in total, according to historical accounts from the era.
These were auctioned off in Europe, ending up in museums from London to Berlin. The British Museum alone holds about 900, while German institutions possess over 1,100. In Switzerland, eight museums across cities like Zurich, Basel, and Geneva safeguard 97 Benin objects, with a 2023 Swiss Benin Initiative report revealing that at least 21 were directly looted in 1897, and another 32 show strong evidence of the same accounting for more than half of their collection.
This colonial plunder was no isolated act. It formed part of the broader “Scramble for Africa,” formalized at the 1884-1885 Berlin Conference, where European powers divided the continent without African input. Nigeria, with its over 250 ethnic groups and diverse heritage sites like the Sukur Cultural Landscape and Osun-Osogbo Sacred Grove both UNESCO World Heritage listings lost not just objects but narratives of identity.
Today, Nigeria’s cultural sector contributes significantly to the economy; the creative industries alone are projected to generate 2.5 million jobs, as outlined in recent ministry mappings. Repatriation isn’t merely symbolic it’s a pathway to economic revival through tourism, education, and inspiration for local artists. Nollywood, the world’s second largest film industry by output, and Afrobeats’ global rise already export Nigerian culture, but returning artifacts could amplify this, drawing visitors to sites like the planned Edo Museum of West African Art in Benin City, set for 2026.
Enter the fresh diplomatic push with Switzerland, a neutral nation with a storied role in global cultural preservation. On Friday, August 29, 2025, in Abuja, Swiss Ambassador to Nigeria, His Excellency Patrick Felix Egloff, paid a courtesy call to Nigeria’s Minister of Art, Culture, Tourism and Creative Economy, Barrister Hannatu Musa Musawa.
Egloff, appointed in 2024 after serving as ambassador to Eritrea and chargé d’affaires for Sudan, represents Switzerland’s commitment to multilateralism.
This marked a historic first: the inaugural meeting between a Swiss ambassador and a Nigerian Minister of Art and Culture. Both sides expressed eagerness to deepen ties, with Switzerland pledging bilateral agreements and cultural diplomacy.
Ambassador Egloff highlighted Switzerland’s proactive stance, noting, “This is the first time that a Swiss ambassador is meeting with a Nigerian minister of Art and Culture. There is a lot happening, and we would be very interested to build more institutional cooperation with the ministry. We think this restitution would be a very good opportunity to strengthen institutional cooperation.”
He revealed that the repatriation process for Nigerian artifacts in Swiss museums began three years ago, with hopes to hand over the bronze pieces through the Nigerian embassy by year’s end. Switzerland’s collections include monoliths and bronzes from Benin, acquired through colonial era trades and auctions.
The 2023 report by the Swiss Benin Initiative, involving eight museums like the Museum Rietberg in Zurich and the Museum of Cultures in Basel, confirmed looting links for dozens of items, prompting openness to full transfers.
In response, Minister Musawa, expressed profound gratitude.
“It is very important for us, Nigeria, to have back these artifacts and even have a wider conversation with Switzerland about what the restitution will look like. The conversation with the Minister of Culture in Switzerland is going to be very important because we will look at what our cooperation opportunities are in other areas,” she stated.
Musawa emphasized the artifacts’ role in preserving Nigeria’s heritage, calling the meeting a pivotal step in fortifying cultural links. She spotlighted collaboration potentials in animation, design, architecture, hospitality, and tourism sectors where Nigeria’s youth-driven creativity could blend with Swiss precision.
The News Agency of Nigeria (NAN) reported that both parties agreed to promote cultural cooperation, expressing willingness to continue discussions and explore opportunities in the arts and culture sectors. This builds on existing diplomatic efforts between Nigerian and Swiss officials, demonstrating a shared dedication to enhancing their cultural relationship. Switzerland’s support extends beyond artifacts; earlier in August 2025, Egloff delivered a letter endorsing Nigeria’s bid for a Category ‘C’ seat on the International Maritime Organization Council for 2026-2027, underscoring broader ties.
This Swiss dialogue fits into a global repatriation surge. In February 2025, the Netherlands returned 119 Benin Bronzes, one of the largest restitutions yet from institutions like the Wereldmuseum in Leiden, following a bilateral agreement. Germany, which holds the second largest collection after the British Museum, repatriated 22 bronzes in December 2022 as the first phase of returning over 1,100 items. The U.S. Smithsonian Institution transferred 29 in October 2022, with nine remaining on loan. France returned 26 Abomey Treasures (related but distinct) in 2021, and the UK’s Horniman Museum sent back 72 in 2022. By mid-2025, over 300 Benin objects have been repatriated worldwide, per NCMM records, with more pending from places like the Metropolitan Museum of Art.
Yet challenges persist. The British Museum, with 928 bronzes, cites the 1963 British Museum Act prohibiting deaccessioning, though recent UK law changes for other institutions signal shifts. In Nigeria, a 2023 presidential decree vested custodianship in the Oba of Benin, Ewuare II, sparking debates on public access versus royal ownership. The Legacy Restoration Trust mediates, ensuring artifacts like those from Switzerland bolster the Edo Museum project, designed by Sir David Adjaye to house the world’s largest Benin collection by 2026.
Nigeria’s cultural heritage is not just a collection of artifacts; it is a dynamic, living force that shapes the nation’s identity and global presence. With over 250 ethnic groups, ranging from the Hausa-Fulani in the north to the Yoruba and Igbo in the south, Nigeria’s rich diversity is reflected in its music, art, and traditions. This cultural mosaic is a key driver behind global phenomena such as Afrobeats—pioneered by international stars like Burna Boy and Wizkid—and Nollywood, the world’s second-largest film industry, producing approximately 2,500 films annually, second only to Bollywood.
Tourism, tied to the nation’s historic heritage sites, has the potential to generate millions, and it is important to recognize that the creative economy has already surpassed oil and gas in its global GDP contributions, according to UNESCO. Efforts like the repatriation of cultural artifacts play a pivotal role in this ongoing cultural revival. Returned bronzes and other art pieces inspire local craftsmanship, boost museum visits, and contribute to healing colonial wounds.
As a result, these efforts foster a sense of pride and ownership, particularly among Nigeria’s youthful population of over 200 million.