Nigeria's remarkable new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the period it was supposed to – but was unable – to welcome visitors to the visitors for the initial occasion.
The Major Initiative
The six-hectare facility sits in the heart of Benin City, capital of the southern state of Edo – and contains an archaeological dig and buildings planned by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington in 2016.
It has been five years in the creation – and is planned to celebrate both the heritage and the current era of creativity in the area known for the Benin Bronzes, artworks looted from the city's royal palace by British troops in the 19th Century.
Setup and Prospects
It is impressive – and before the planned opening, Mowaa was active with workers determined to prove it is a venue that can rival renowned art institutions in the West.
Within preservation experts carefully opened cultural items from secure wrapping, checking each item and taking thorough records before positioning them on exhibition areas and bases.
Technicians fine-tuned temperature regulation systems. In the research lab, personnel calibrated equipment meant to preserve centuries-old objects.
Investment and Economic Plans
The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.
"I hope us to have a substantial economic impact on local residents in this region," he explained to the press, adding that he hoped to make the city "a tourism center."
Mowaa, a charitable Nigerian institution, aims at creating over 30,000 employment opportunities and adding above $80m per year to the area arts sector through alliances and events.
Funding Sources and Political Challenges
It has required $25m to achieve this stage – funds gathered from different contributors, featuring the French and German governments, the British Museum and the Edo state government.
But now the regional administration has withdrawn support from below it – revoking the use of the land on which the building was erected.
An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as the Edo-named institution – and it had later removed "Edo" from its designation.
Unrest and Official Response
This statement followed protests on recently, when protesters stormed the campus demanding it be named the Museum of the Benin Kingdom.
A disruptive group insulted overseas dignitaries at the facility before the launch – forcing them to be hurried away under security protection.
President Bola Tinubu has even stepped in to work to address the dispute, setting up a high-level committee to address the controversy.
Governance Issues
But in what way has this evolved into so controversial – and such a PR disaster?
The majority of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a key supporter of the museum.
And it looks like the leadership of the recently elected official, a close ally of the regional monarch, called the royal figure, may seek increased control in the initiative. The demonstrators on Sunday, for instance, were insisting that the institution be put under the control of Oba Ewuare II.
The Historical Objects Discussion
This brings into focus the disputed topic of the historical artworks, one of Africa's most celebrated artistic heritage.
Because even if the museum does ultimately open, these objects will be noticeably missing.
They are metal, ivory and wooden artworks that once embellished the king's residence of the Benin Kingdom before colonial troops looted them in the colonial era during a military operation.
Nowadays, thousands continue to be scattered across institutions in the West -- including the UK institution, Berlin's Humboldt Forum and the American museum.
Return Initiatives
Their return has become one of the most contested conversations in the international art community. Roughly 150 have currently come back – and further are due to follow.
When ideas for the museum in the urban center were first announced in the pre-pandemic era, the key players on the country's cultural sector anticipated it would become their perfect venue – a advanced complex to exhibit them to the world.
But the waters were muddied two years ago after the national authorities declared that the traditional ruler would be the legal custodian of any returned bronzes – and the royal household campaigned for a museum under the royal family's direct control, contrary to the preferences of Obaseki.
Diplomatic Challenges
This placed Mowaa in a delicate position: maintaining a definite position on repatriation while remaining diplomatic on custodianship – and emphasising its broader vision, which led to|c
