Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the week it was expected to – but did not manage – to begin operations to the general public for the very first time.
The Grand Vision
The 15-acre campus sits in the core of Benin City, administrative center of the southern area of Edo – and includes an archaeological dig and structures created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in the US capital in 2016.
It has been half a decade in the making – and is designed to celebrate both the history and the modern times of artistic expression in the region known for the historic artworks, cultural objects taken from the city's royal palace by British troops in the 1800s.
Readiness and Potential
It is notable – and prior to the planned opening, Mowaa was buzzing with employees resolved to prove it is a venue that can compete with well-known cultural centers in the Europe and America.
Internally conservators precisely unwrapped cultural items from protective packaging, examining each piece and taking thorough notes before placing them on walls and stands.
Specialists fine-tuned climate control systems. In the research lab, personnel set up devices intended to preserve centuries-old items.
Investment and Economic Plans
The initiative has been the idea of entrepreneur Phillip Ihenacho – now Mowaa's executive director.
"I aim us to have a significant financial effect on area populations in this region," he stated to journalists, adding that he aspired to make Benin City "a tourism center."
Mowaa, a non-profit Nigerian institution, envisions itself establishing over 30,000 direct and indirect jobs and providing over $80m annually to the area arts sector through collaborations and events.
Funding Sources and Political Challenges
It has required $25m to reach this point – money collected from different contributors, including the French and German governments, the London institution and the regional authorities.
But currently the local government has pulled the rug from below it – revoking the use of the land on which the facility was constructed.
An Edo state spokesperson clarified this was because in the initial documents it had called itself Edo Museum of West African Art – and it had later eliminated "the regional name" from its name.
Demonstrations and Government Action
This declaration came after demonstrations on Sunday, when people stormed the complex demanding it be designated the Royal Benin Museum.
A disruptive group confronted international visitors at the facility ahead of the inauguration – forcing them to be hurried away under police escort.
Head of state Bola Tinubu has even become involved to try and resolve the conflict, establishing a high-level committee to do some damage control.
Administrative Challenges
But why has this become so politicised – and such a public relations crisis?
Much of it comes down to local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a major backer of the initiative.
And it looks like the government of the new governor, a strong supporter of the area king, referred to as the traditional leader, may want more of a stake in the project. The protesters on the weekend, for instance, were demanding that the institution be placed under the authority of Oba Ewuare II.
The Benin Bronzes Controversy
This emphasizes the disputed topic of the Benin Bronzes, one of the continent's most famous historical legacy.
Because though the museum does ultimately open, these artifacts will be clearly not present.
They are brass, ivory and timber sculptures that once decorated the royal palace of the historical empire before UK forces took them in 1897 during a colonial invasion.
Nowadays, many continue to be scattered across galleries in the West -- including the British Museum, European center and the New York institution.
Return Initiatives
Their repatriation has become one of the most contested discussions in the worldwide cultural sector. About 150 have now made their way home – and more are expected to return.
When ideas for the museum in the city were initially revealed in 2019, the key players on the national arts community expected it would become their natural home – a state-of-the-art complex to exhibit them to the international community.
But the issues became confused recently after the federal government stated that the Oba would be the legal custodian of any returned bronzes – and the palace campaigned for a museum under the king's authority, contrary to the preferences of Obaseki.
Strategic Positioning
This placed Mowaa in a difficult situation: expressing a specific viewpoint on repatriation while being careful on guardianship – and emphasising its broader vision, which led to|c
