The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the week it was expected to – but was unable – to begin operations to the public for the first time.
The Ambitious Project
The 15-acre campus is located in the heart of Benin City, capital of the southern region of Edo – and contains an archaeological dig and facilities planned by high-profile dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington in 2016.
It has been five years in the creation – and is designed to celebrate both the past and the modern times of artistic expression in the area known for the cultural artifacts, artworks stolen from the king's palace by British troops in the 19th Century.
Setup and Prospects
It is notable – and ahead of the anticipated opening, Mowaa was energetic with employees determined to prove it is a institution that can match renowned art institutions in the Western world.
Within art restorers meticulously opened art pieces from safety materials, examining each item and taking detailed documentation before positioning them on display surfaces and stands.
Technicians calibrated temperature regulation systems. In the research lab, staff members calibrated equipment meant to preserve centuries-old artefacts.
Financial Backing and Economic Vision
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – presently Mowaa's chief executive.
"I want us to have a significant financial effect on communities around here," he told the press, adding that he wanted to make Benin City "a cultural destination."
Mowaa, a non-profit Nigerian institution, envisions itself establishing more than 30,000 employment opportunities and adding over $80m annually to the regional creative economy through alliances and events.
Funding Sources and Political Challenges
It has required $25m to reach this point – funds collected from multiple supporters, including the French and German governments, the UK museum and the regional authorities.
But at present the regional administration has withdrawn support from under it – revoking the occupancy of the property on which the museum was built.
An government communicator explained this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had subsequently eliminated "the regional name" from its designation.
Demonstrations and Government Action
This announcement was preceded by protests on the weekend, when people stormed the facility demanding it be named the Benin Royal Museum.
A boisterous crowd confronted foreign guests at the venue before the inauguration – compelling them to be hurried away under official guard.
President Bola Tinubu has even become involved to try and resolve the conflict, creating a presidential committee to do some damage control.
Political Complexities
But in what way has this turned into so divisive – and such a PR disaster?
A great deal of it stems from local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance ended recently – who was a primary advocate of the museum.
And it looks like the administration of the recently elected official, a key associate of the area king, referred to as the traditional leader, may seek more of a stake in the project. The activists on the weekend, for case, were demanding that the institution be positioned under the control of the current Oba.
The Benin Bronzes Controversy
This emphasizes the disputed topic of the cultural artifacts, one of the continent's most celebrated historical legacy.
Because although the institution does ultimately begin operations, these objects will be conspicuously absent.
They are metal, ivory and wooden artworks that once adorned the king's residence of the Benin Kingdom before colonial troops looted them in the colonial era during a colonial invasion.
Currently, numerous remain distributed across museums in the West -- such as the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Return Initiatives
Their return has become one of the most contested discussions in the international art community. Approximately 150 have now been returned – and further are scheduled to be repatriated.
When plans for the institution in Benin City were first announced in the pre-pandemic era, the key players on the national arts community expected it would become their ideal location – a modern complex to show them off to the global audience.
But the waters were muddied some time back after the central administration declared that the Oba would be the legal custodian of returned objects – and the palace advocated for a facility under the monarch's supervision, against the preferences of Obaseki.
Political Navigation
This placed Mowaa in a difficult situation: maintaining a clear stance on return while being careful on ownership – and highlighting its larger purpose, which led to|c
