Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the time it was expected to – but was unable – to begin operations to the visitors for the initial occasion.
The Grand Vision
The large-scale complex stands in the heart of Benin's urban center, administrative center of the southern region of Edo – and includes an excavation site and facilities designed by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington in 2016.
It has been five years in the making – and is designed to showcase both the heritage and the current era of creativity in the area famous for the historic artworks, artworks taken from the city's royal palace by British troops in the 1800s.
Preparation and Promise
It is impressive – and prior to the anticipated opening, Mowaa was buzzing with workers determined to prove it is a institution that can rival well-known cultural centers in the West.
Internally art restorers meticulously unwrapped art pieces from protective packaging, checking each item and taking meticulous notes before arranging them on exhibition areas and bases.
Experts adjusted environmental controls. In the research lab, personnel calibrated devices meant to conserve centuries-old objects.
Investment and Economic Plans
The project has been the idea of investor Phillip Ihenacho – now Mowaa's managing director.
"I aim us to have a substantial economic benefit on local residents in this region," he stated to media outlets, noting that he hoped to make the city "a tourism center."
Mowaa, a not-for-profit national foundation, envisions itself generating more than 30,000 work positions and providing more than $80m per year to the regional creative economy through alliances and programming.
Financial Support and Government Issues
It has required $25m to get here – capital collected from multiple contributors, featuring the international partners, the British Museum and the local administration.
But at present the regional administration has pulled the rug from below it – terminating the occupancy of the property on which the building was erected.
An official representative clarified this was because in the initial documents it had called itself Edo Museum of West African Art – and it had since removed "the regional name" from its name.
Protests and Political Intervention
This announcement followed protests on Sunday, when protesters invaded the complex insisting it be designated the Royal Benin Museum.
A rowdy crowd insulted international visitors at the museum before the inauguration – compelling them to be hurried away under police escort.
National leader Bola Tinubu has also stepped in to try and resolve the tensions, setting up a presidential committee to do some damage control.
Political Complexities
But why has this become so politicised – and such a public relations crisis?
Much of it results from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration finished last year – who was a key supporter of the museum.
And it looks like the leadership of the new governor, a strong supporter of the local traditional ruler, referred to as the Oba, may want more of a stake in the project. The protesters on that day, for example, were demanding that the institution be placed under the control of the royal leader.
The Benin Bronzes Controversy
This brings into focus the disputed topic of the historical artworks, one of Africa's most celebrated artistic heritage.
Because though the museum does ultimately open, these artifacts will be clearly not present.
They are metal, elephant tusk and timber sculptures that once embellished the king's residence of the ancient kingdom before colonial troops looted them in the late nineteenth century during a colonial invasion.
Currently, thousands remain scattered across museums in Europe and North America -- such as the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Repatriation Campaigns
Their return has become one of the most contested discussions in the global art world. Roughly 150 have now made their way home – and additional are scheduled to be repatriated.
When ideas for the museum in Benin City were first announced in 2019, the influential figures on the national arts community hoped it would become their ideal location – a advanced campus to exhibit them to the global audience.
But the situation became complicated some time back after the federal government announced that the Oba would be the legal custodian of any returned bronzes – and the monarch's court campaigned for a institution under the royal family's direct control, against the wishes of Obaseki.
Diplomatic Challenges
This left Mowaa in a difficult situation: maintaining a specific viewpoint on return while staying tactful on ownership – and stressing its larger purpose, which led to|c
