Nigeria's remarkable new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the period it was expected to – but did not manage – to begin operations to the public for the first time.
The Major Initiative
The six-hectare campus sits in the core of Benin's urban center, administrative center of the southern area of Edo – and contains an archaeological dig and facilities planned by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.
It has been five years in the making – and is envisioned to honor both the heritage and the modern times of creativity in the locale known for the Benin Bronzes, artworks stolen from the royal palace by British troops in the nineteenth century.
Readiness and Potential
It is impressive – and prior to the scheduled opening, Mowaa was buzzing with staff resolved to demonstrate it is a place that can compete with established cultural centers in the Europe and America.
Inside art restorers meticulously unwrapped cultural items from secure wrapping, examining each item and taking detailed records before arranging them on walls and plinths.
Specialists fine-tuned environmental controls. In the scientific facility, staff members adjusted devices designed to preserve historical items.
Investment and Economic Plans
The project has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.
"I hope us to have a major economic benefit on area populations around here," he explained to media outlets, mentioning that he wanted to make this urban center "a cultural destination."
Mowaa, a charitable local organization, envisions itself creating over 30,000 direct and indirect jobs and adding more than $80m annually to the regional creative economy through alliances and events.
Investment and Administrative Problems
It has required $25m to get here – capital gathered from various donors, including the French and German governments, the British Museum and the regional authorities.
But at present the local government has pulled the rug from under it – revoking the occupancy of the property on which the facility was constructed.
An Edo state spokesperson stated this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently dropped "the state identifier" from its designation.
Unrest and Official Response
This statement followed rallies on recently, when protesters stormed the facility calling for it be named the Benin Royal Museum.
A boisterous group confronted international visitors at the museum prior to the inauguration – requiring them to be hurried away under police escort.
Head of state Bola Tinubu has even intervened to attempt to settle the dispute, setting up a presidential committee to address the controversy.
Administrative Challenges
But why has this evolved into so politicised – and such a public relations crisis?
Much of it stems from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance ended recently – who was a key supporter of the museum.
And it looks like the government of the new governor, a close ally of the regional monarch, called the royal figure, may seek more of a stake in the project. The demonstrators on Sunday, for example, were insisting that the institution be positioned under the control of the current Oba.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the Benin Bronzes, one of the region's most famous historical legacy.
Because even if the museum does ultimately begin operations, these artifacts will be conspicuously absent.
They are brass, ivory and wooden carvings that once decorated the monarch's home of the historical empire before British soldiers took them in the colonial era during a colonial invasion.
Currently, thousands continue to be spread across galleries in the West -- featuring the British Museum, European center and the New York institution.
Return Initiatives
Their repatriation has become one of the most debated debates in the international art community. About 150 have now made their way home – and additional are expected to return.
When plans for the institution in the urban center were originally proposed in 2019, the movers and shakers on Nigeria's art scene hoped it would become their perfect venue – a modern campus to exhibit them to the international community.
But the situation became complicated some time back after the national authorities announced that the traditional ruler would be the rightful owner of returned objects – and the monarch's court pushed for a facility under the king's authority, against the wishes of the ex-leader.
Strategic Positioning
This left Mowaa in a difficult situation: asserting a definite position on repatriation while staying tactful on ownership – and emphasising its wider mission, which led to|c
