02/03/2026
📰 COMMUNIQUÉ
1st Benin Sculpture Dialogue Series (Episode 1)
Organised by the Sculptors’ Association of Nigeria (ScAN), Benin Cell
Held on 1st March 2026
Ekenwan Campus, University of Benin, Benin City
Theme:
“The State of Sculpture in Benin City: Challenges and Opportunities”
Lead Paper Presented by Prof. Franklyn Chu Egwali
PREAMBLE
The Sculptors’ Association of Nigeria (ScAN), Benin Cell, successfully hosted the 1st Benin Sculpture Dialogue Series (Episode 1) on March 1st, 2026, at the Ekenwan Campus of the University of Benin, Benin City.
The dialogue brought together academic and practicing sculptors, cultural stakeholders, and art enthusiasts to critically examine the current realities of sculpture practice in Benin City—its challenges, prospects, and the strategic way forward.
Participants unanimously affirmed that while sculpture in Benin City is surviving, it stands at a crucial crossroads requiring urgent collective action, innovation, and institutional support.
STATE OF SCULPTURE IN BENIN CITY
1. Preservation of Indigenous Heritage
The Dialogue acknowledged the enduring efforts of notable sculptors who continue to preserve indigenous culture through monumental and figurative works.
The gathering further recognized initiatives such as:
• The Black Muse, headed by Victor Ehikhamenor, which showcases contemporary West African artists and celebrates Benin City’s artistic heritage.
• Museum of West African Art (MOWAA), a major cultural infrastructure project positioned to redefine Benin’s global artistic identity.
KEY CHALLENGES IDENTIFIED
A. Challenges Facing Bronze Casters
Participants noted with concern:
• The rising cost of bronze (approximately ₦7,500 per kilogram) and beeswax (approximately ₦8,000).
• Increasing impurities in raw bronze materials.
• Declining availability of scrap metal for casting.
• Operational inefficiencies within production chains, including:
°Wax modelling
investments
°Welding inconsistencies
°Motif design challenges
°Patination and finishing
bottlenecks
°Poor timeline adherence
among base makers
°Unreliable supply chains
(including firewood
sourcing)
It was further observed that many younger individuals are increasingly drawn to quick wealth, thereby neglecting the time-intensive discipline required for traditional bronze casting.
B. Economic and Patronage Challenges
The Dialogue highlighted:
• Escalating cost of
materials.
• Declining local patronage
from both government and
private collectors.
• Migration of young talents
to Lagos, Abuja, Port
Harcourt, and abroad.
• Reduction of workshop
spaces along Igun Street
due to commercial
displacement.
• Lack of structured
government support for
sculptors.
Participants also acknowledged ongoing disputes concerning the custodianship of repatriated Benin bronzes between the Edo State Government under Godwin Obaseki and the Benin Royal Palace, noting that such tensions indirectly affect practicing artists.
C. Challenges Facing Wood Carvers
The Dialogue recognized the historic significance of the Igbesamwan wood carving tradition and the monumental wood works that once defined Benin artistry.
However, major challenges include:
• Scarcity of iconic timber species such as ebony (blackwood), mahogany, teak, and masonia.
• Illegal logging and premature harvesting.
• High cost of premium woods (e.g., masonia caskets ranging between ₦1.5m – ₦2.8m).
• Severe deforestation affecting sustainable artistic practice.
Participants noted the Edo State Government’s 10-year forest restoration strategy, particularly in Okomu and Gelegele Forest Reserves, as a positive step forward.
PROSPECTS AND OPPORTUNITIES
The Dialogue identified significant opportunities:
1. Repatriation & Global Attention
The return of looted Benin artifacts has placed renewed global focus on Benin’s artistic heritage, potentially ushering in a renaissance for traditional and contemporary artists.
2. Cultural Infrastructure Development (MOWAA)
Participants highlighted the potential benefits of the Museum of West African Art (MOWAA), including:
• Cultural and economic revitalization
• Tourism development
• Artistic and technical training in conservation, archaeology, and curation
• Job creation (projected 25,000–30,000 opportunities)
•Sustainable infrastructure including studios, sculpture parks, auditorium, and amphitheatre
• Global positioning of Benin City as a world-class art destination
• International collaborations, including support from the Mellon Foundation
3. The Black Muse Art Festival
The Black Muse initiative was commended as a growing platform for:
• Residencies
• Artistic exchange
• Technical development
• International exposure
• Exhibition opportunities
CRITICAL SELF-REFLECTION BY SCULPTORS
The Dialogue engaged in honest introspection, raising the following concerns:
• Why are painters selling more than sculptors?
• Why do sculptors rely heavily on commissions rather than solo exhibitions?
• Why is self-promotion inadequate within the sculpture community?
• Why does unhealthy competition exist among students and practitioners?
• Why do sculptors sometimes isolate themselves in studios?
Participants agreed that sculptors must increase visibility through exhibitions, collaborations, publications, and strategic marketing.
RECOMMENDATIONS AND RESOLUTIONS
For Sculptors
1. Prioritize exhibitions alongside commissions.
2. Invest in modernization and capacity building.
3. Upgrade tools and production techniques.
4. Strengthen unity within the profession.
5. Leverage platforms such as MOWAA and Black Muse.
6. Engage writers and critics to document and interpret works.
7. Improve social media presence and publicity.
8. Maintain affordability at early career stages.
9. Avoid professional isolation; foster collaboration.
10. Practice consistently and sustain production.
For Government
1. Enforce strict anti-deforestation laws.
2. Prevent indiscriminate felling and premature harvesting of economic trees.
3. Promote lesser-known timber species.
4. Regularize and regulate the sale of raw bronze materials to foreigners.
5. Resume patronage of local sculptors.
6. Transform Igun Street into a world-class tourist and heritage destination.
7. Support forest restoration initiatives in Okomu and Gelegele.
For International Collaboration
The Dialogue encouraged engagement with international cultural support bodies such as:
• UNESCO
• International Federation of Arts Councils and Culture Agencies (IFACCA)
• Prince Claus Fund
• British Council
African Arts Trust
CONCLUSION
The 1st Benin Sculpture Dialogue Series concluded with a strong call for unity, innovation, professionalism, and strategic engagement.
Participants resolved that:
The future of sculpture in Benin City depends not solely on government intervention but on the collective responsibility of artists.
• Collaboration, visibility, modernization, and strategic networking are essential.
• Benin City possesses the cultural depth and historical prestige to reclaim its rightful place as a global epicenter of sculpture.
The Dialogue reaffirmed confidence that with renewed commitment, institutional synergy, and generational mentorship, the sculptural heritage of Benin City will not only survive—but flourish.
Issued this 1st day of March, 2026
For and on behalf of the
Sculptors’ Association of Nigeria (ScAN), Benin Cell
End of Communiqué
