🔗 Share this article

Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the time it was expected to – but was unable – to welcome visitors to the public for the first time.

The Ambitious Project

The 15-acre facility is located in the core of Benin's urban center, capital of the southern state of Edo – and contains an archaeological dig and buildings created by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.

It has been five years in the making – and is envisioned to showcase both the past and the current era of artistic expression in the area renowned for the Benin Bronzes, cultural objects taken from the king's palace by British soldiers in the 19th Century.

Readiness and Potential

It is impressive – and prior to the anticipated opening, Mowaa was energetic with employees determined to show it is a institution that can compete with established art institutions in the Europe and America.

Inside preservation experts carefully opened artworks from secure wrapping, checking each artifact and taking meticulous documentation before placing them on exhibition areas and plinths.

Technicians calibrated environmental controls. In the materials science laboratory, staff members adjusted equipment designed to conserve centuries-old artefacts.

Investment and Economic Plans

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

"I aim us to have a substantial economic impact on area populations in this region," he stated to media outlets, noting that he aspired to make the city "a cultural destination."

Mowaa, a charitable local organization, sees itself establishing over 30,000 employment opportunities and contributing more than $80m annually to the regional creative economy through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – money gathered from multiple donors, featuring the French and German governments, the UK museum and the local administration.

But at present the regional administration has revoked permission from beneath it – terminating the use of the site on which the facility was constructed.

An government communicator explained this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently removed "the regional name" from its designation.

Demonstrations and Government Action

This statement was preceded by protests on Sunday, when protesters invaded the facility calling for it be designated the Royal Benin Museum.

A rowdy group harassed overseas dignitaries at the facility prior to the inauguration – compelling them to be escorted out under official guard.

President Bola Tinubu has also intervened to work to address the tensions, setting up a presidential committee to address the controversy.

Administrative Challenges

But in what way has this evolved into so divisive – and such a reputation problem?

A great deal of it stems from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a key supporter of the initiative.

And it appears the government of the current leader, a strong supporter of the local traditional ruler, called the traditional leader, may desire increased control in the venture. The activists on that day, for case, were insisting that the museum be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the cultural artifacts, one of Africa's most celebrated artistic heritage.

Because even if the museum does ultimately open, these bronzes will be conspicuously absent.

They are brass, elephant tusk and wooden carvings that once embellished the king's residence of the historical empire before UK forces took them in the late nineteenth century during a colonial invasion.

Nowadays, thousands continue to be spread across institutions in the West -- such as the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most contested discussions in the worldwide cultural sector. Approximately 150 have now made their way home – and further are due to follow.

When proposals for the museum in the city were first announced in 2019, the movers and shakers on Nigeria's art scene expected it would become their natural home – a state-of-the-art campus to display them to the global audience.

But the situation became complicated recently after the national authorities declared that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court campaigned for a institution under the monarch's supervision, opposing the wishes of the former governor.

Strategic Positioning

This placed Mowaa in a difficult situation: maintaining a definite position on repatriation while staying tactful on custodianship – and stressing its broader vision, which led to|c