Nigerian rapper and activist Emmanuel Great Okugun
Nigerian rapper and activist Emmanuel Great Okugun, known as Gee Baller and Yaya Bande, staged a powerful protest at the British Museum, calling for the repatriation of the Benin Bronzes.
Standing before a display case of the artifacts, Okugun held a Nigerian flag inscribed with the words: “Stolen from Africa. Reparations!” The image quickly went viral, reigniting debate over the return of African cultural heritage.
Gee Baller, whose music blends drill, trap, and afrobeats to explore themes of colonial history and African identity, views the bronzes as more than just art.
“You keep our soul behind glass like a trophy,” he declared at the museum. His 2022 album, Black Slides & White Socks, delves into the African experience in a world dominated by Western narratives.
The Benin Bronzes were looted by British troops in 1897 during the sacking of Benin City. These thousands of artifacts—holding immense historical and cultural significance for the Edo people, are now scattered across museums in Europe and the United States. Nigeria has long demanded their return.
Okugun, who has ancestral ties to the Benin Kingdom through his Esanland roots, sees the bronzes as a vital part of his heritage. “The bronzes are our memory, not exhibits,” he said.
“Imagine your family’s heirloom being stolen and displayed in someone else’s home, with claims that you can’t have it back.”
Using the hashtag #BringBackOurBronzes, Okugun shared his protest on Instagram, describing the bronzes as “the voice of our ancestors.”
The post resonated widely, with thousands expressing support for the repatriation effort. One user, @NaijaPride, wrote, “Stop holding our history hostage! Bring the bronzes home!” Another, @AfroSoul22, added, “This isn’t art; it’s our soul. Thank you, Gee Baller, for your courage!”
Okugun is also urging the public to sign the Change.org petition “Return Africa’s Stolen Heritage: Repatriation and Reparations Now,” which calls for the return of African artifacts and compensation for colonial-era crimes.
“This is a matter of respect,” he said. “If Europe acknowledges guilt for the Holocaust, why does it remain silent about the plunder of Africa?”
While institutions in countries like Germany and the Netherlands have begun repatriating artifacts, the British Museum, which holds the largest collection of Benin Bronzes, continues to resist.
Okugun believes their hesitation stems from fear of setting a precedent. But he insists, “Africa is no longer asking; it’s demanding.”
His activism is gaining momentum, fueled by his music and growing online support. The Return Africa’s Stolen Heritage petition is nearing its goal of 100,000 signatures, amplifying Africa’s call for the return of its cultural legacy.
