Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the period it was expected to – but was unable – to welcome visitors to the visitors for the first time.
The Grand Vision
The 15-acre complex stands in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an archaeological dig and structures created by celebrated dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in the US capital in 2016.
It has been five years in the making – and is designed to showcase both the heritage and the current era of creativity in the region famous for the historic artworks, cultural objects looted from the royal palace by British troops in the 19th Century.
Setup and Prospects
It is impressive – and prior to the scheduled opening, Mowaa was energetic with workers determined to demonstrate it is a place that can compete with established museums and galleries in the West.
Internally art restorers precisely opened artworks from protective packaging, checking each item and taking meticulous documentation before arranging them on exhibition areas and bases.
Technicians fine-tuned climate control systems. In the materials science laboratory, personnel adjusted instruments meant to conserve centuries-old items.
Investment and Economic Plans
The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's managing director.
"I aim us to have a major financial effect on communities in this region," he told journalists, mentioning that he aspired to make the city "an arts hub."
Mowaa, a charitable national foundation, aims at establishing in excess of 30,000 employment opportunities and contributing over $80m each year to the area arts sector through alliances and programming.
Financial Support and Government Issues
It has taken $25m to achieve this stage – capital gathered from multiple donors, including the international partners, the UK museum and the local administration.
But now the local government has revoked permission from below it – terminating the occupancy of the property on which the facility was constructed.
An government communicator stated this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had later removed "the state identifier" from its designation.
Unrest and Official Response
This announcement followed protests on Sunday, when protesters entered the complex calling for it be named the Benin Royal Museum.
A rowdy assembly insulted foreign guests at the museum ahead of the inauguration – forcing them to be hurried away under police escort.
Head of state Bola Tinubu has even stepped in to work to address the dispute, setting up a high-level committee to address the controversy.
Administrative Challenges
But why has this evolved into so politicised – and such a PR disaster?
A great deal of it stems from internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration concluded the previous year – who was a major backer of the initiative.
And it seems the government of the recently elected official, a key associate of the local traditional ruler, called the Oba, may desire more of a stake in the venture. The activists on Sunday, for instance, were insisting that the museum be positioned under the authority of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most famous historical legacy.
Because even if the museum does finally open, these bronzes will be conspicuously absent.
They are metal, elephant tusk and timber carvings that once adorned the royal palace of the historical empire before colonial troops took them in the late nineteenth century during a punitive expedition.
Nowadays, many continue to be scattered across institutions in Europe and North America -- such as the London museum, European center and the Metropolitan Museum of Art.
Repatriation Campaigns
Their repatriation has become one of the most contested conversations in the international art community. Roughly 150 have now been returned – and additional are scheduled to be repatriated.
When ideas for the institution in Benin City were first announced in 2019, the movers and shakers on the national arts community expected it would become their natural home – a advanced complex to display them to the international community.
But the waters were muddied two years ago after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the palace pushed for a facility under the monarch's supervision, contrary to the wishes of the former governor.
Political Navigation
This placed Mowaa in a delicate position: expressing a definite position on return while being careful on custodianship – and stressing its broader vision, which led to|c
