The nation's remarkable new Art Museum of West Africa (Mowaa) has landed in the center of regional political struggles during the time it was expected to – but did not manage – to welcome visitors to the public for the very first time.
The Major Initiative
The six-hectare campus is located in the heart of Benin City, capital of the southern state of Edo – and includes an excavation site and facilities designed by celebrated 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 planned to showcase both the past and the present of creativity in the region famous for the historic artworks, cultural objects taken from the royal palace by British soldiers in the 19th Century.
Setup and Prospects
It is remarkable – and prior to the scheduled opening, Mowaa was buzzing with workers determined to show it is a place that can match established art institutions in the West.
Within preservation experts precisely revealed artworks from secure wrapping, inspecting each item and taking detailed notes before placing them on exhibition areas and plinths.
Experts fine-tuned climate control systems. In the materials science laboratory, personnel calibrated devices intended to maintain ancient objects.
Investment and Economic Plans
The project has been the brainchild of businessman Phillip Ihenacho – currently Mowaa's chief executive.
"I hope us to have a major economic benefit on local residents around here," he stated to the press, mentioning that he wanted to make the city "a tourism center."
Mowaa, a charitable local organization, sees itself establishing over 30,000 direct and indirect jobs and contributing over $80m annually to the regional creative economy through partnerships and events.
Financial Support and Government Issues
It has taken $25m to achieve this stage – funds gathered from various contributors, such as the European governments, the London institution and the Edo state government.
But now the regional administration has withdrawn support from under it – canceling the occupancy of the site on which the facility was constructed.
An Edo state spokesperson clarified this was because in the original paperwork it had called itself EMOWAA – and it had later removed "the state identifier" from its designation.
Demonstrations and Government Action
This statement followed rallies on the weekend, when protesters entered the complex insisting it be designated the Museum of the Benin Kingdom.
A disruptive group harassed foreign guests at the museum before the inauguration – compelling them to be quickly removed under security protection.
Head of state Bola Tinubu has also become involved to attempt to settle the conflict, creating a special task force to do some damage control.
Governance Issues
But in what way has this turned into so controversial – and such a PR disaster?
Much of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded the previous year – who was a key supporter of the initiative.
And it appears the government of the new governor, a key associate of the local traditional ruler, called the Oba, may want more of a stake in the initiative. The demonstrators on Sunday, for example, were calling for that the institution be positioned under the control of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the disputed topic of the historical artworks, one of the region's most famous historical legacy.
Because though the facility does ultimately begin operations, these objects will be noticeably missing.
They are brass, ivory and wooden artworks that once adorned the royal palace of the Benin Kingdom before colonial troops stole them in 1897 during a military operation.
Nowadays, numerous stay spread across museums in Europe and North America -- featuring the UK institution, German museum and the American museum.
Repatriation Campaigns
Their return has become one of the most contested discussions in the international art community. Roughly 150 have now come back – and more are expected to return.
When proposals for the institution in the urban center were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene expected it would become their natural home – a state-of-the-art complex to show them off to the world.
But the issues became confused recently after the national authorities stated that the traditional ruler would be the legal custodian of returned objects – and the royal household pushed for a museum under the royal family's direct control, opposing the preferences of the ex-leader.
Political Navigation
This placed Mowaa in a difficult situation: expressing a specific viewpoint on repatriation while staying tactful on ownership – and emphasising its broader vision, which led to|c
