🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has landed in the center of local power politics during the time it was expected to – but did not manage – to open its doors to the general public for the very first time.

The Major Initiative

The 15-acre facility sits in the heart of Benin's urban center, administrative center of the southern area of Edo – and features an excavation site and structures designed by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been half a decade in the development – and is envisioned to honor both the history and the present of artistic expression in the locale renowned for the historic artworks, historical pieces taken from the city's royal palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and ahead of the anticipated opening, Mowaa was active with workers committed to demonstrate it is a venue that can rival renowned cultural centers in the Western world.

Inside conservators meticulously opened art pieces from secure wrapping, checking each piece and taking thorough documentation before arranging them on display surfaces and bases.

Experts adjusted environmental controls. In the materials science laboratory, personnel adjusted devices intended to conserve ancient objects.

Financial Backing and Economic Vision

The initiative has been the idea of investor Phillip Ihenacho – now Mowaa's managing director.

"I want us to have a significant economic impact on area populations in the vicinity," he explained to media outlets, mentioning that he hoped to make Benin City "an arts hub."

Mowaa, a not-for-profit Nigerian institution, envisions itself generating more than 30,000 work positions and adding more than $80m annually to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – funds gathered from various donors, including the international partners, the London institution and the Edo state government.

But at present the local government has pulled the rug from below it – revoking the use of the land on which the museum was built.

An Edo state spokesperson explained this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently removed "Edo" from its designation.

Demonstrations and Government Action

This declaration came after demonstrations on the weekend, when protesters entered the complex demanding it be named the Benin Royal Museum.

A rowdy crowd confronted international visitors at the museum prior to the inauguration – requiring them to be quickly removed under official guard.

Head of state Bola Tinubu has additionally intervened to attempt to settle the dispute, establishing a presidential committee to do some damage control.

Administrative Challenges

But how has this evolved into so divisive – and such a public relations crisis?

Much of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a key supporter of the project.

And it seems the administration of the new governor, a strong supporter of the area king, referred to as the royal figure, may seek increased control in the venture. The demonstrators on that day, for example, were demanding that the facility be placed under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the cultural artifacts, one of the continent's most famous historical legacy.

Because even if the museum does finally begin operations, these bronzes will be clearly not present.

They are metal, elephant tusk and timber sculptures that once decorated the royal palace of the historical empire before colonial troops stole them in the colonial era during a military operation.

Today, thousands continue to be distributed across institutions in the West -- including the London museum, German museum and the New York institution.

Return Initiatives

Their homecoming has become one of the most debated debates in the global art world. Roughly 150 have currently been returned – and further are scheduled to be repatriated.

When plans for the institution in the city were originally proposed in 2019, the key players on the national arts community hoped it would become their natural home – a advanced campus to display them to the international community.

But the situation became complicated recently after the central administration stated that the traditional ruler would be the legal custodian of returned objects – and the royal household campaigned for a museum under the king's authority, opposing the desires of the ex-leader.

Political Navigation

This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on return while staying tactful on custodianship – and stressing its wider mission, which led to|c