For Nigeria’s Arts Scene,  a Year of  Triumph and Turbulence

As the curtains close on 2025, the Nigerian art and culture scene stands as a landscape of immense triumph, exciting experiences partly shadowed by controversies. From the high-brow galleries of London to the ancestral streets of Benin City, the year was defined by a struggle to balance global prestige with traditional censorship. Yinka Olatunbosun reports.

This has been a mixed year for the art world, marked by both excitement and controversy. Among the standout moments on Nigeria’s cultural calendar is London’s Tate Modern hosting one of the most ambitious African art exhibitions to date, Nigerian Modernism: Art and Independence, running from October to May 2026. Featuring more than 250 works by 50 artists, the exhibition traces the “Natural Synthesis” movement and brings renewed international attention to figures such as Ben Enwonwu, Ladi Kwali, and the Zaria Art Society. In doing so, it challenges long-held perceptions of Nigerian art as merely “ethnic” or “traditional,” positioning it instead as a confident modernist movement that helped shape the country’s post-independence identity.

Arguably the most significant controversy of the year,  the planned official opening ceremony for the Museum of West African Art (MOWAA) in Benin City was postponed indefinitely. What was intended to be a triumphant opening on November 9 turned into a site of civil unrest, and an embarrassment for the art community as foreign media and art connoisseurs from different parts of the world witnessed a protest that forced the ceremony to a grinding halt.

Protesters, believed to be loyal to the Oba of Benin, Ewuare II, stormed the museum pavilion on the grounds that the institution lacked the traditional mandate to be the custodian of returned Benin Bronzes, asserting that such artefacts belong exclusively to the Royal Court, not a private or state-backed foundation.

Following the incident, Edo State Governor, Monday Okpebholo, revoked the museum’s land license. The opening was postponed indefinitely, leaving the $100 million project in a state of “unclear future,” highlighting the delicate politics of restitution and the rightful custodian of Nigeria’s heritage. Talks are ongoing to resolve the crisis.

Meanwhile, The Netherlands returned 119 Benin Bronzes to Nigeria, a significant step in addressing colonial-era looting. The artefacts, looted by British forces in 1897, were handed over to Nigeria in June with 113 from the Dutch State Collection and six from the Municipality of Rotterdam.

A major milestone in Nigeria’s efforts to reclaim its cultural heritage, the Benin Bronzes, crafted between the 16th and 18th centuries, are considered vital to Nigeria’s history and identity and are ironically at the centre of the controversy around MOWAA’s aborted opening exhibition.

In November, Art X Lagos celebrated its 10th anniversary, themed Imagining Otherwise, No Matter the Tide. The fair expanded into four new spaces at the Federal Palace, solidifying its status as West Africa’s premier art market. A major feature was the retrospective of legendary photographer J.D. ’Okhai Ojeikere, titled An Exacting Eye, which showcased six decades of Nigerian social and aesthetic history through his iconic “hairstyles” series.

Fela Kuti’s museum, “Afrobeat Rebellion,” cast a spell on viewers at the Ecobank Pan African Centre in Lagos, Nigeria, from October 12 to December 28. The exhibition is a multi-sensory experience that explores Fela’s life, music, and legacy as a musician, activist, and cultural icon.

The museum features 10 thematic sections, including Fela’s early life, his time in Lagos, the Kalakuta Republic, and his global influence.  Some highlights of the exhibition include a library and jukebox section with books written by and about Fela; interactive spaces that recreate the Kalakuta Republic and Afrika Shrine; a section dedicated to the Kalakuta Queens, Fela’s dancers, singers, and partners; live performances and studio sessions with artists like Ezra Collective and Seun Kuti as well as workshops, talks, and children’s programmes.

Flipping the pages in the year’s calendar, Chimamanda Ngozi Adichie made a significant literary comeback with her new novel Dream Count. The new literary effort explores identity, love, and desire, following a period of battling depression. The award-winning writer also gained major fashion recognition, attending the Met Gala as a host committee member, asserting her evolving influence in culture beyond literature, while continuing to engage in global discussions on feminism and society.

Oyin Olugbile won the 2025 Nigeria Prize for Literature for her novel Sanya taking home a $100,000 prize on October 10. “Sanya” beat out two other finalists, The Road to the Country by Chigozie Obioma and This Motherless Land by Nikki May.

The judges praised Olugbile’s “mythology retelling approach,” noting her unique portrayal of Sango as a female character and her captivating use of Yoruba mythology. The winning novel explores themes of identity, power, and cultural heritage, showcasing Olugbile’s mastery of storytelling.

In the music scene, the 2026 Grammy nominations spell good tidings for Afrobeats’ artists in Nigeria as the Recording Academy announced the nominations for the 68th Annual Grammy Awards. Slated for February 2026,  the ceremony is a highly anticipated one which has several Nigerian artists dominating the “Best African Music Performance” category. Burna Boy, Ayra Starr, Wizkid, Davido and Omah Lay are all nominated for Best African Music Performance for while Burna Boy secured Best Global Music Album nomination for “No Sign of Weakness.” These nominations reflect Nigeria’s growing influence and dominance in global music and the widespread appreciation for contemporary African music.

Fela Kuti, the legendary Nigerian musician and activist, was said to have been enlisted to  receive a Grammy Lifetime Achievement Award in 2026, making him the first African artist to receive this honour. This posthumous honour is in recognition of Fela’s contribution to music recording. He would be recognised alongside other music icons like Whitney Houston, Chaka Khan, Cher, and Paul Simon for his creative contributions to recorded music.

Fela’s Afrobeat music blended funk, jazz, salsa, and traditional Nigerian rhythms, creating the unique music genre that has inspired global stars like Beyoncé, Wizkid, and Burna Boy. His lampoon-laden lyrics often criticised corruption and oppression, making him a voice for the voiceless. This award is a testament to Fela’s enduring legacy.

In the film industry, Nollywood transitioned from “quantity” to “prestige” this year, making deep inroads into the global “Big Three” festivals. Akinola Davies Jr.’s My Father’s Shadow became a breakout sensation, receiving a Caméra d’Or Special Mention at Cannes. It was subsequently selected as the UK’s entry for the 2026 Academy Awards, featuring a predominantly Nigerian narrative and cast.

On his part, Joel Kachi Benson made history as the first Nigerian to win an Emmy for Mothers of Chibok, signaling a shift in how Nigerian real-world stories are being consumed by global audiences.

The cinematic world had its own share of controversy. The movie “A Very Dirty Christmas” in Nigeria was widely condemned as offensive and disrespectful to the Christian faith. The Christian Association of Nigeria (CAN) expressed outrage over the title, stating that it diminishes the spiritual meaning of Christmas and reduces it to something crude and sensational.

The movie’s producer and lead actress, Ini Edo, apologised for any offense caused and explained that the title is a metaphor for family conflicts during a Christmas reunion. She has also offered to change the title and has pleaded with regulators not to withdraw the film from cinemas, citing commitments to investors and its current screening in over 70 cinemas nationwide.

The National Film and Video Censors Board (NFVCB) has requested the producer to modify the title, acknowledging public concerns and emphasising the importance of respecting religious sensitivities. Actor IK Ogbonna has also defended Ini Edo, questioning the timing of CAN’s objection and arguing that the film’s content has not been criticised. In the same vein, Unchained Vibes Africa (UVA) called for artistic freedom while respecting moral and religious expression. While faith-based groups, including CAN, have the right to critique creative works, UVA cautions against using such criticism to pressure regulatory bodies, such as the NFVCB, into censorship. UVA calls for dialogue, regulatory independence, and a cultural space where disagreement leads to discussion rather than suppression.

The Nigerian art scene mourned the passing of Olu Ajayi (1963–2025). A pioneering figure in Nigerian contemporary art, painter, and former chairman of the Society of Nigerian Artists (SNA), Lagos chapter, Ajayi died on May 23. He was renowned for his innovative use of watercolor and oil paintings featuring “pseudo human figures.”

In all, Nigeria’s arts and culture scene in 2025 is fast growing with a growing constellation of artists, curators, and galleries making their mark. For a sector largely driven by a youthful population and a growing appetite for cultural experiences, there’s still much suspense and high hopes in the air.