In the colonial era, as Europeans traversed Africa, many acquired treasured objects from indigenous communities, offering in exchange manufactured items and materials from their homelands. Among these were artefacts that held profound cultural, spiritual, and historical significance.
Decades later, some of them have begun to return to their countries of origin. Across Africa, nations such as Nigeria, Benin, Cameroon, Namibia, and the DR Congo have received or are in the process of reclaiming cultural treasures taken during the colonial period.
Nigeria, for instance, has welcomed back several iconic pieces looted from the royal palace of Benin in 1897, while France has returned royal artifacts to Benin (West Africa) that once belonged to the Kingdom of Dahomey. Germany has pledged the return of the Ngonnso’ statue to Cameroon and other sacred objects to Namibia, and Belgium has begun repatriating thousands of items to the DR Congo, acknowledging their profound historical and cultural significance.
Building on this continental trend, Uganda has joined the movement through the loan of 39 artefacts returned by the University of Cambridge Museum of Archaeology and Anthropology in 2024.
Through the Ethics of loaning exhibition organised by Alliance Française Kampala and Goethe-Zentrum Kampala, supported by a Franco-German fund, 15 of these artefacts are being displayed at the Nommo Gallery in Kampala, giving the public a rare opportunity to reconnect with Uganda’s cultural heritage.
Peter Primus, the deputy head of mission at the Germany Embassy, he highlighted Germany’s commitment to addressing the legacy of its colonial past. Primus explained that this process involves acknowledging historical injustices, seeking forgiveness, and returning cultural artefacts and ancestral remains, all carried out in close dialogue with the governments, communities, and diaspora of former colonies.
He emphasised that while restitution is not merely about the return of objects, it represents respect for cultures and histories, and the restoration of memory and dignity for those affected by colonial-era expropriations.
He said, ‘Such initiatives, he noted, contribute to justice, reconciliation, and the building of a shared future grounded in equality and mutual respect.’
Additionally, Francis Peter Ojede, the executive director of the Uganda National Cultural Centre (UNCC) welcomed the exhibition as a significant milestone in the country’s ongoing engagement with its cultural heritage. Ojede emphasised that the display of returned artefacts offers a platform for critical reflection on issues of cultural justice, ownership, and historical accountability.
Exhibitions like this, he says, encourage Ugandans and visitors to engage in dimensions of restitution, fostering a deeper understanding of how colonial-era expropriation continues to shape contemporary cultural narratives.
The cultural artefacts exhibition
On a chilly evening of October 3, hundreds of curators, diplomats, scholars, and community representatives gathered at Nommo Gallery in Nakasero to witness the opening of the Ugandan artefacts exhibition. The event featured a series of activities, including large-format photographic displays, immersive virtual reality experiences of items restituted in 1962 and 2024, and expert discussions examining the ethical and political dimensions of restitution. The exhibition, which runs until October 24, offers visitors an engaging opportunity to reflect on Uganda’s cultural heritage and its journey of reclaiming history.
Among the artefacts on display are traditional regalia, musical instruments, and ritual objects that once held deep cultural and spiritual meaning. Each piece is accompanied by a detailed description indicating what it is, the year it was collected, and by whom. Together, these artefacts tell stories of artistry, identity, and memory, offering visitors a profound glimpse into Uganda’s rich and diverse heritage.
Some of the notable items on display include royal emblems, ceremonial tools, and ancestral figures that once held deep cultural and spiritual meaning. Among them is a white linen Kanzu which was worn by men and chiefs in Buganda, a head pad previously owned by chief (Rwot) Atiak, a headdress called Otok from Lango used for performing ceremonial dances.
The exhibition also features a beaded headband with a zigzag pattern traditionally worn by Ankole women during marriage ceremonies, and a Buganda royal drum adorned with beads and cowrie shells.
The collection further includes the Queen Mother’s royal drum from Bunyoro, a wooden trough from Ankole played privately by women, and a Bunyoro shield made of plant fibre reinforced with leather.
Other rare pieces are ngato, a leather divination card from Buganda once used to seek the favour of the god Mwanga; engyemeko, crafted from black earthenware from Ankole, and ejjembe, a spiritual object made from a clawed creature covered in barkcloth, alongside another version made from a crocodile tooth and animal hide used for spiritual protection.
Also on display is a royal oval wooden meat dish carved from musogo wood, believed to have been used by King Andereya Bisereko Duhaga II of Bunyoro, a shield made from thick hippopotamus hide with a wooden handle and a black milk pot used for drinking milk, both from Bunyoro. While these were taken during the colonial era and preserved for decades in European museums, their presence at the gallery mark a symbolic homecoming, rekindling conversations about ownership, preservation, and the value of cultural memory.
This is because such artefacts trace the evolution of our culture from the past to the present, helping to define the direction in which society is heading. They also serve as valuable resources for research and cultural preservation. One of the guests, Timothy Wasswa Kisuule, a member of the Ndiga clan, remarked that the ejjembe made from a clawed creature holds deep significance for his clan, as it reminds him of a revered elder.
He expressed hope that the artefact could one day be returned to their clan as part of reclaiming their cultural heritage. Many other visitors shared a sense of awe, with some rediscovering stories passed down by elders, and others gaining a deeper appreciation of Uganda’s diverse cultural legacy.
Impact
Phillip Balimunsi, a curator, emphasised that exhibitions of this kind have the potential to position Uganda as a leading destination for cultural and heritage tourism.
He explained that by offering an immersive experience that combines history, artistry, and national identity, such exhibitions can attract local and international visitors, complementing the country’s well-established wildlife and ecotourism offerings.
Balimunsi highlighted that the gallery itself, originally created as a space for researchers to study Uganda’s cultural past, now serves a broader purpose. By showcasing artefacts that reflect centuries of Ugandan heritage, the exhibition allows visitors to engage directly with the nation’s historical and spiritual narratives.
He added that this dual role of preserving knowledge for scholars while educating the public enhances the gallery’s appeal as a cultural tourism hub.
Furthermore, Balimunsi noted that presenting the artefacts within the context of ethical restitution encourages critical reflection among visitors about colonial history, ownership, and cultural justice.
‘By combining aesthetic appreciation with historical and ethical education, we not only strengthen Uganda’s tourism profile but also foster a deeper understanding of the country’s cultural identity and the ongoing journey of reclaiming its heritage.’