Employees at the National Museum in Lagos meticulously strip rust and patina from the Igbo-Ukwu Bronze relics, part of the restoration effort for some of Nigeria’s most ancient yet undervalued collections.
The Igbo-Ukwu artifacts, believed to originate from the 9th century as per museum records, were unearthed in 1939 in the southeastern Anambra state, inhabited by the Igbo community.
The collection includes beautifully crafted items such as bowls, pots, vases, and shells.
This revival occurs amidst an uncertain future for the repatriation of thousands of the more renowned Benin Bronzes from overseas museums and private collections.
In a declaration made in March, President Muhammadu Buhari stated that any returned Benin Bronzes, originally pillaged from the ancient Benin kingdom, should be placed under the stewardship of a royal figure in today’s Benin city, located in southwestern Nigeria. This decision resulted in a British university delaying the return of over 100 artifacts.
From the Lagos museum, curator Omotayo Adeboye regarded the Igbo-Ukwu as “pinnacles of innovation and native artisanship.”
Under the expertise of a dedicated team, the Igbo-Ukwu Bronzes are undergoing a painstaking restoration process. Each piece is delicately handled, preserving its historical and artistic integrity while the tarnishing of ages is removed.
Once overshadowed by the more globally known Benin Bronzes, these artifacts now receive the attention they deserve. They represent a significant part of Nigeria’s cultural heritage, reflecting the sophisticated metallurgical skills of the Igbo people from over a thousand years ago.
The timing of the Igbo-Ukwu revival coincides with a broader discussion about cultural heritage and the repatriation of artifacts. The uncertain future of the Benin Bronzes has triggered a reassessment of how historical treasures are treated and showcased.
President Buhari’s decision about the Benin Bronzes, one of Africa’s most iconic treasures, has set a precedent, sparking a debate about the rightful ownership and custodianship of cultural artifacts. The decision by a British university to delay the return of their collection of Benin Bronzes demonstrates the international implications of this issue.
While this discussion unfolds, the curator Omotayo Adeboye and her team continue their meticulous work on the Igbo-Ukwu Bronzes. Adeboye’s passion for these artifacts is evident as she hails them as “pinnacles of innovation and native artisanship.” Her mission is to help Nigerians, and the world recognize the intrinsic value of these lesser-known but equally important pieces of Nigeria’s rich cultural history.
