Your ancestors are watching.. make them proud.
Getting Started
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Currently on view in Milele Virtual Museum
Meroitic Kush, the Land of the Black Pharaohs — The Sudan
This section focuses on the Meroitic Kush kingdom, with three reconstructed pyramids based on queen Amanishakheto’s (reign in 1st century AD) tomb in Meroë. the choice to focus on this site came from both admiration and anger. The pyramids of Meroë were destroyed in 1834 by an Italian "explorer" or thief, Giuseppe Ferlini, who blasted it open to steal gold. 57 pieces were taken. today, most of them remain locked away in Munich and Berlin.
We had planned to include 3D scans of some of the queen's jewellery, but both museums in Berlin and Munich refused our request for access. Instead, we’re showing an image of one of her bracelets. It’s not ideal. But it's honest. it reflects the current reality—that much of African heritage is still governed by the West.
The guide through this section is Amankarei, a character we created based on historical research into Kushite women’s attire and presence. She leads you through what once was. The exhibit was co-curated with cultural strategist Hadia Eltom and is part of our ongoing work to use digital tools to rebuild and remember what is lost.
We also want to acknowledge the current crisis in Sudan. This exhibit is also about protecting memory in a moment when so much is at risk. Documenting and sharing this part of history felt urgent, and necessary.
Kenya: The Agĩkũyũ and Luo
The Kenyan section was developed in collaboration with Urban Gurus, a creative collective based in nairobi. Ian Okinda and Brian Njenga led this work. They’re also two of the original producers behind Milele Museum.
We focused on the Agĩkũyũ and Luo communities. The artifacts you’ll see here —The Agĩkũyũ ndoome shield used during rites of passage, and the Luo ceremonial headdress—were 3D scanned from originals held at the Rautenstrauch-Joest Museum in Cologne. These scans were first created during Urban Gurus’ heritage project, which brought Kenyan cultural objects into a VR world long before Milele existed. We’re building on that foundation.
What makes this section special is the way it's framed. the artifacts are placed inside a village setting. Two tall statues stand at the entrance, arms stretched toward each other to mark the space as one of protection, of community.
Visitors can walk through reconstructions of Agĩkũyũ and Luo huts, each shaped by distinct architectural traditions. Inside, they can also play Umuvuno, Milele's interactive game based on plant knowledge passed down across generations. In the game, you help a character find the Matomoko fruit (known for its healing power) and watch them recover. it’s a simple gesture, but one grounded in something real: the everyday science of African healing.
This section is about connection. Between generations. Between digital and physical. Between those who stayed, and those who left. It’s also a reminder that our heritage is still alive: growing, shifting, and returning.
U Rwagasabo “Rwanda.” The 1000 hills. Home of amata n’ubuki (milk and honey)
The Rwandan section of Milele Museum brings together fragments of daily life, spirituality, and symbolism. This exhibit sits within a village, where visitors can explore traditional huts, ceremonial objects, and figures deeply rooted in Rwanda’s cultural memory.
Among the most striking are the sculptures of the Inyambo, a breed of long-horned cattle historically raised and cared for by the royal court. the Inyambo, until today are adorned, praised for their elegance, and accompanied royal ceremonies as living symbols of status, power, and beauty. Today, a number of Inyambo cows are still kept at the King’s Palace Museum in Nyanza, where their lineage and presence continue to be honored.
At the center of this section is the Murera, a small clay toy from Burera, in Rwanda’s Northern Province. Its exact function still is unknown, but it likely reflects an aspect of daily or ceremonial life. Its rough, expressive form carries a quiet power—it reminds us that even simple objects can hold deep cultural meaning. The original among a number of similar others clay figures are held at the ethnographic museum in Berlin with most of them being damaged. Since we were unable to obtain access for 3D scanning, we created a reconstruction using detailed photographs. Consider it a partial return.
You’ll also find a dance rattle once used in rituals to honor Ryangombe, a central spiritual figure in pre-colonial Rwanda, often invoked during moments of hardship like war or illness. This object was one of six rwandan artifacts we were able to 3D scan in collaboration with the Rautenstrauch-Joest Museum in Cologne.
Visitors can interact with the umuvuno game, named after the first move of Igisoro, a traditional board game. In this version, you’re guided to find the Umuko tree (also known as erythrina abyssinica). This tree, with its bright red flowers, is associated with healing and protection, and holds deep ritual significance in the stories of Ryangombe. In the game, finding the tree allows you to gather the flower and help an ill character recover. it’s a small act of care that carries generational memory.
This exhibit was curated by Milele Museum's founders Canda and Melissa Kurkut.
The Ancient Benin Kingdom
This section focuses on The Benin Kingdom. Its legacy and its brilliance. It was developed in collaboration with Looty, a collective using digital tools to reclaim looted African art. They’ve worked across borders to scan and model cultural objects held in Western museums, making them visible again in online spaces, narrated by the community itself.
At Milele, we’ve included two digitally rendered Benin Bronzes, surrounded by 3D models of carved elephant ivory tusks. These objects were taken during the British invasion of Benin city in 1897 and are now scattered across institutions from London to Berlin to Boston. some are slowly being returned, most are not.
This exhibit does not pretend digital restitution is enough. But it is a start. it creates a space where people can see, question, and feel connected to something that was never meant to be out of reach.
The exhibit is guided by a woman character dressed in royal attire from the Benin court. She speaks in pidgin, voiced by Ruona Meyer—the first Nigerian journalist nominated for an Emmy. Her voice makes the story personal, local, and alive.
