Nigeria's remarkable new Museum of West African Art (Mowaa) has landed in the middle of local power politics during the period it was scheduled to – but did not manage – to welcome visitors to the public for the very first time.
The Ambitious Project
The six-hectare facility stands in the center of Benin City, main city of the southern area of Edo – and includes an excavation site and buildings planned by celebrated dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.
It has been 60 months in the making – and is planned to showcase both the past and the current era of artistic expression in the area renowned for the historic artworks, artworks looted from the royal palace by UK forces in the 19th Century.
Setup and Prospects
It is remarkable – and before the anticipated opening, Mowaa was energetic with workers resolved to show it is a place that can rival established cultural centers in the Europe and America.
Inside preservation experts meticulously unwrapped cultural items from protective packaging, examining each artifact and taking thorough records before positioning them on walls and stands.
Experts fine-tuned temperature regulation systems. In the materials science laboratory, officers adjusted instruments intended to maintain ancient objects.
Financial Backing and Economic Vision
The project has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.
"I hope us to have a significant economic benefit on local residents in the vicinity," he stated to media outlets, noting that he wanted to make Benin City "a cultural destination."
Mowaa, a charitable Nigerian institution, aims at establishing more than 30,000 employment opportunities and adding over $80m annually to the regional creative economy through alliances and programming.
Investment and Administrative Problems
It has taken $25m to achieve this stage – funds collected from various supporters, including the international partners, the British Museum and the Edo state government.
But at present the local government has pulled the rug from under it – canceling the use of the property on which the museum was built.
An official representative explained this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its name.
Protests and Political Intervention
This statement was preceded by protests on Sunday, when protesters invaded the complex demanding it be designated the Royal Benin Museum.
A boisterous crowd insulted overseas dignitaries at the venue before the launch – forcing them to be quickly removed under security protection.
Head of state Bola Tinubu has also become involved to try and resolve the dispute, setting up a special task force to do some damage control.
Political Complexities
But why has this turned into so controversial – and such a PR disaster?
Much of it results from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose governance concluded last year – who was a key supporter of the project.
And it appears the leadership of the current leader, a strong supporter of the area king, known as the royal figure, may desire greater involvement in the venture. The activists on Sunday, for case, were demanding that the institution be positioned under the control of the royal leader.
The Historical Objects Discussion
This emphasizes the disputed topic of the historical artworks, one of the region's most famous historical legacy.
Because even if the facility does ultimately open, these bronzes will be clearly not present.
They are brass, elephant tusk and wooden sculptures that once decorated the monarch's home of the ancient kingdom before UK forces looted them in 1897 during a punitive expedition.
Nowadays, many stay spread across galleries in Europe and North America -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Restitution Efforts
Their return has become one of the most disputed discussions in the worldwide cultural sector. About 150 have currently come back – and additional are scheduled to be repatriated.
When plans for the institution in the urban center were originally proposed in 2019, the key players on the national arts community anticipated it would become their perfect venue – a modern facility to exhibit them to the world.
But the waters were muddied recently after the central administration stated that the traditional ruler would be the legal custodian of any returned bronzes – and the royal household campaigned for a museum under the king's authority, contrary to the desires of the former governor.
Political Navigation
This placed Mowaa in a difficult situation: maintaining a clear stance on return while staying tactful on ownership – and stressing its wider mission, which led to|c
