Nigeria's impressive new West African Art Museum (Mowaa) has ended up in the crosshairs of area political conflicts during the time it was supposed to – but was unable – to begin operations to the public for the initial occasion.
The Major Initiative
The 15-acre complex stands in the core of Benin's urban center, capital of the southern region of Edo – and features an archaeological dig and buildings planned by renowned dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.
It has been 60 months in the creation – and is planned to celebrate both the past and the present of cultural innovation in the region known for the Benin Bronzes, historical pieces taken from the city's royal palace by British soldiers in the 19th Century.
Preparation and Promise
It is remarkable – and before the planned opening, Mowaa was energetic with employees committed to prove it is a institution that can rival established art institutions in the Europe and America.
Internally conservators carefully revealed art pieces from protective packaging, inspecting each artifact and taking thorough notes before placing them on walls and stands.
Technicians calibrated temperature regulation systems. In the scientific facility, officers adjusted instruments designed to conserve centuries-old items.
Funding and Economic Goals
The initiative has been the brainchild of businessman Phillip Ihenacho – now Mowaa's managing director.
"I hope us to have a significant economic benefit on area populations around here," he explained to journalists, mentioning that he wanted to make Benin City "an arts hub."
Mowaa, a non-profit local organization, aims at generating more than 30,000 direct and indirect jobs and contributing more than $80m annually to the area arts sector through partnerships and programming.
Investment and Administrative Problems
It has taken $25m to reach this point – funds collected from various contributors, such as the French and German governments, the London institution and the Edo state government.
But now the state authorities has withdrawn support from beneath it – terminating the occupancy of the property on which the building was erected.
An Edo state spokesperson clarified this was because in the initial documents it had called itself EMOWAA – and it had since eliminated "the regional name" from its designation.
Protests and Political Intervention
This announcement followed demonstrations on Sunday, when protesters invaded the facility demanding it be named the Benin Royal Museum.
A disruptive group confronted foreign guests at the venue before the inauguration – requiring them to be hurried away under security protection.
National leader Bola Tinubu has even intervened to attempt to settle the dispute, creating a presidential committee to do some damage control.
Governance Issues
But how has this evolved into so politicised – and such a public relations crisis?
Much of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose governance finished the previous year – who was a primary advocate of the museum.
And it looks like the government of the recently elected official, a strong supporter of the regional monarch, known as the traditional leader, may want more of a stake in the project. The demonstrators on the weekend, for example, were insisting that the museum be placed under the authority of the current Oba.
The Cultural Artifacts Debate
This highlights the contentious issue of the Benin Bronzes, one of Africa's most famous cultural treasures.
Because although the facility does finally begin operations, these artifacts will be noticeably missing.
They are brass, ivory and wooden carvings that once embellished the king's residence of the Benin Kingdom before colonial troops looted them in the late nineteenth century during a punitive expedition.
Nowadays, thousands remain spread across museums in Europe and North America -- such as the UK institution, European center and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most disputed discussions in the international art community. Approximately 150 have now been returned – and additional are due to follow.
When plans for the museum in the urban center were first announced in 2019, the key players on the national arts community anticipated it would become their natural home – a state-of-the-art complex to exhibit them to the international community.
But the waters were muddied some time back after the national authorities declared that the royal leader would be the legal custodian of any returned bronzes – and the palace campaigned for a museum under the royal family's direct control, opposing the desires of the ex-leader.
Strategic Positioning
This left Mowaa in a delicate position: asserting a clear stance on restitution while staying tactful on ownership – and stressing its broader vision, which led to|c
