Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of local power politics during the week it was scheduled to – but was unable – to begin operations to the public for the very first time.
The Major Initiative
The six-hectare facility sits in the core of the Edo state capital, main city of the southern area of Edo – and contains an historical dig and buildings planned by high-profile dual heritage architect Sir David Adjaye, best known 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 making – and is envisioned to celebrate both the heritage and the modern times of cultural innovation in the area renowned for the Benin Bronzes, historical pieces stolen from the city's royal palace by UK forces in the 19th Century.
Preparation and Promise
It is notable – and prior to the planned opening, Mowaa was active with staff resolved to show it is a institution that can compete with renowned art institutions in the West.
Inside art restorers precisely revealed cultural items from safety materials, checking each item and taking thorough notes before placing them on walls and bases.
Experts calibrated environmental controls. In the materials science laboratory, personnel adjusted instruments meant to preserve historical objects.
Funding and Economic Goals
The project has been the concept of entrepreneur Phillip Ihenacho – now Mowaa's managing director.
"I want us to have a major economic impact on local residents in this region," he told media outlets, noting that he wanted to make Benin City "an arts hub."
Mowaa, a charitable local organization, aims at creating over 30,000 employment opportunities and adding over $80m per year to the regional creative economy through partnerships and events.
Investment and Administrative Problems
It has needed $25m to reach this point – funds gathered from different contributors, such as the French and German governments, the British Museum and the regional authorities.
But now the state authorities has revoked permission from under it – terminating the use of the land on which the museum was built.
An government communicator explained this was because in the initial documents it had identified as the Edo-named institution – and it had since removed "Edo" from its name.
Protests and Political Intervention
This declaration came after rallies on the weekend, when activists entered the facility insisting it be designated the Benin Royal Museum.
A boisterous assembly harassed overseas dignitaries at the venue prior to the inauguration – compelling them to be hurried away under police escort.
Head of state Bola Tinubu has also become involved to work to address the tensions, setting up a special task force to address the controversy.
Governance Issues
But how has this evolved into so politicised – and such a PR disaster?
A great deal of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended the previous year – who was a key supporter of the museum.
And it looks like the leadership of the recently elected official, a strong supporter of the local traditional ruler, known as the traditional leader, may desire greater involvement in the venture. The activists on the weekend, for case, were calling for that the museum be placed under the control of the current Oba.
The Benin Bronzes Controversy
This brings into focus the disputed topic of the Benin Bronzes, one of Africa's most renowned artistic heritage.
Because even if the institution does ultimately welcome visitors, these objects will be clearly not present.
They are metal, ivory and wooden sculptures 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.
Today, numerous remain scattered across galleries in Western nations -- such as the British Museum, European center and the New York institution.
Return Initiatives
Their homecoming has become one of the most debated conversations in the international art community. Approximately 150 have presently come back – and more are due to follow.
When ideas 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 show them off to the global audience.
But the situation became complicated some time back after the central administration announced that the Oba would be the rightful owner of repatriated artifacts – and the monarch's court pushed for a facility under the royal family's direct control, contrary to the wishes of Obaseki.
Strategic Positioning
This placed Mowaa in a delicate position: expressing a definite position on return while being careful on custodianship – and stressing its wider mission, which led to|c
