
Nigeria receives over 100 looted artefacts from the Netherlands
LAGOS - The Netherlands on Saturday officially handed back to Nigeria 119 precious ancient sculptures, stolen from the former kingdom of Benin more than 120 years ago during the colonial era.
It is the latest return of artefacts to Africa, as pressure mounts on Western governments and institutions to hand back the spoils of colonial oppression.
Nigeria celebrated the return of the priceless "Benin Bronzes" -- metal and ivory sculptures dating back to the 16th to 18th centuries -- with a ceremony held at the National Museum in Lagos, showcasing four of them in the museum's courtyard.
The selection included a bronze carving of a king's head, a carved elephant tusk and a small leopard.
In the 19th century, British troops stole thousands of Benin Bronzes in the then-independent kingdom of Benin, in the south of present-day Nigeria.
The sculptures were pillaged from the kingdom's royal palace and have since been held in museums and private collections across Europe and the United States.
The four artefacts currently on display in Lagos will remain in the museum's permanent collection, while the others will be returned to Ewuare II, the Oba of Benin -- the traditional ruler of the kingdom of Benin in southern Nigeria.
"These are embodiments of the spirit and identity of the people from which they were taken from," said Olugbile Holloway, director-general of Nigeria's National Commission for Museums and Monuments.
"All we ask of the world is to treat us with fairness, dignity and respect," he said at the ceremony, where he announced that Germany had agreed to return more than 1,000 additional Benin Bronze pieces.
"The German government has actually signed a transfer agreement to hand over a 1,000 Benin Bronzes back" to Nigeria, he said.
Nigeria's art and culture minister Hannatu Musa Musawa, who signed the handover document with the Dutch ambassador for international cultural cooperation, Dewi van de Weerd, said "Nigeria needs to reclaim its history and its heritage".
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Citizen
17 hours ago
- The Citizen
Sweet nectarine possets with nectarine fresh whipped cream
Nectarine Possets are a clever twist on the traditional posset, a classic British dessert known for its smooth, custard-like texture created by the simple reaction between cream and acid – usually lemon juice. But Juicy Delicious has given this old favourite a fresh update by presenting it in the very fruit that inspired it. Each posset is delicately set in a hollowed-out nectarine half, creating a striking visual contrast between the pale, creamy filling and the vibrant orange-pink of the fruit's skin. Ingredients 5 large nectarines – cut in half cream lemon 180 ml fresh whipping cream 75 grams castor sugar 1 whole lemon – to squeeze onto the cut peaches 4 Tbsp / 60mls freshly squeezed lemon juice for the mixture 3 Tbsp nectarine puree, see instructions below 10ml cinnamon sugar Method Slice your nectarines in half longways and carefully removing the pits. Then using a teaspoon carve out the inside of the nectarine, don't go too close to the skin as you don't want to break the outer layer. Once you have done this to all the nectarines, squeeze a whole lemon over the cut surfaces, to stop them from going brown. Place all the nectarine flesh into a blender or Nutribullet and blend until smooth. Beat the cream until soft peaks form. Add the castor sugar and beat in. Add the nectarine puree and mix through. Add the lemon juice. Spoon the cream mixture into the prepared nectarine halves. Refrigerate until serving. Sprinkle with cinnamon sugar just before serving. TIP: You can replace the cream with plain cream cheese or mascarpone for an even more indulgent version.

TimesLIVE
2 days ago
- TimesLIVE
UK chooses statues and glass bridge design for Queen Elizabeth memorial
A digital illustration shows a statue of Britain's Queen Elizabeth II and Prince Philip, by Foster + Partners led by British architect Lord Norman Foster, which has been selected as one of the winning entries for the national memorial in St James's Park in London, in this undated handout picture. Image: Foster + Partners/Handout via REUTERS A memorial to honour Queen Elizabeth in London's St James's Park will feature a statue of Britain's longest-reigning monarch on horseback, another of her arm-in-arm with her husband Prince Philip and a glass bridge, the project committee said. Elizabeth II died at her Scottish castle on September 8 2022 after more than seven decades on the throne. She was 96. Her death provoked days of mourning and tributes from around the country and the world. St James's Park, which is located opposite Buckingham Palace, was chosen as the best site to pay tribute to her reign and under the plan announced on Tuesday the park will be reshaped, with two new areas of gardens and two new gates. The committee chose the plans drawn up by Foster + Partners, a firm headed by Norman Foster, one of Britain's most influential architects, who is known for the Gherkin building in London's financial district and the Reichstag dome in Berlin. Foster, 90, knew Elizabeth personally after she appointed him to the Order of Merit for services to architecture in 1997 and he said his idea was to use the site to narrate her legacy and the extraordinary story of her life. The new glass bridge is inspired by the tiara she wore at her wedding while the two gates and two gardens reflect the way Elizabeth balanced tradition and modernity, public duty and private faith, and Britain and the Commonwealth, Foster said. 'It's creating something which is timeless and reaches across all ages and interests and conveys the values of Her Majesty, which were a mixture of the formal and delightful informality,' he told BBC Radio. The design will be finalised by April 2026 and the memorial could be completed one to two years after that, Foster said.

TimesLIVE
3 days ago
- TimesLIVE
Pretoria PhD graduate creates Sepedi comms tool for disabled children
For many children with communication disabilities, expressing their thoughts, needs and feelings can feel impossible, especially when the tools available are not coded in their language. But one South African scholar made it her mission to change that. Dr Ngwanamaishe Rahab Mothapo, a University of Pretoria PhD graduate, has developed a communication system that allows Sepedi-speaking children with communication impairments to express themselves in their language and on their terms. The non-electronic, picture-based tool is specifically designed for preliterate children who speak Sepedi, a language spoken widely in Limpopo. Her work marks the first culturally rooted augmentative and alternative communication (AAC) system of its kind in the country. 'It's really about giving these children a voice,' said Mothapo. 'Enabling them to take part in communication, which is a human right.' Her motivation was deeply personal. Growing up in Polokwane, Limpopo, she had a relative whose son lived with an intellectual disability and struggled to communicate. 'Because we knew our way around him, it was much easier for us to understand him,' she said. It was during this period that she became increasingly aware of a gap in the field. That experience stayed with her and later shaped her career as a speech-language pathologist and audiologist. When she entered the profession, she found that the resources available to support children with communication needs were not only limited, but also culturally foreign. 'Our profession is very Western-centric. The tools we use, the tests, the assessment frameworks are all based on English-speaking children in Western contexts,' she said. 'That is a problem when you are working in Limpopo with Sepedi-speaking children who can't relate to those tools at all.' Her research journey began by developing the 222 most commonly used Sepedi words, which she calls 'core vocabulary' words, which laid the foundation of her PhD. Her doctoral study aimed to create a usable system that children could hold in their hands, and use at home, at school or in clinics and 'feel seen' by using it. Her PhD research, conducted at the university's Centre for Augmentative and Alternative Communication (AAC), used a design methodology that places users at the heart of the process. She engaged a range of stakeholders, including teachers, parents, linguists, speech therapists and even adults who had grown up using AAC devices. 'If we don't consider the people who will use the system, their culture, their language, daily lives, then we end up with tools that people abandon,' said Mothapo. 'That is something we see globally with assertive technology. It is not used because it does not resonate.' The picture-based board contains more than 600 items, grouped by how children use language socially and contextually. It includes: Greeting phrases and everyday expressions; A QWERTY keyboard with Sepedi-specific phonemes; Core vocabulary including nouns, pronouns, verbs and adjectives; Fringe vocabulary, tailored to specific settings such as playtime or weddings 'The system is intentionally flexible, allowing children, caregivers and teachers to adjust vocabulary according to the situation, whether a child is at school, in a park, or attending a ceremony,' she said. The board also contains emojis that reflect the reality of children who use it. Her findings highlighted the importance of dialectical variations. 'Polokwane Sepedi is not the same as Sekhukhune Sepedi,' said Mothapo, adding that teachers and therapists must consider these differences when using the system. The final product is now being used by some of the schools and families who took part in the research. Mothapo has also shared the tool with the Limpopo education department and hopes it will soon be rolled out more widely. 'This is not something I'm trying to sell. The aim is not to monetise it,' she said. 'Raising a child with a disability is already expensive. Communication should not be a luxury; it is a basic need.' Her vision reaches beyond Sepedi-speaking children. She hopes her work will serve as a blueprint for other South African languages, particularly those that have been historically marginalised in healthcare and education. 'If this device is going to act as my voice and I'm going to use it to interact with my community, then it must reflect who I am, my culture, my language,' she said. 'Otherwise, it only adds to the isolation.' To future researchers from marginalised backgrounds, Mothapo offers encouragement and a challenge. 'There is a phrase I believe in: 'Nothing about us without us.' We can't keep letting outsiders define our languages and our communities. Don't be afraid to explore new ground, even if there is not much research already done. Be fearless.'