Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the middle of local power politics during the week it was scheduled to – but failed – to begin operations to the general public for the initial occasion.
The Grand Vision
The 15-acre facility sits in the heart of Benin's urban center, capital of the southern area of Edo – and contains an archaeological dig and structures planned by high-profile Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in the US capital in 2016.
It has been half a decade in the making – and is envisioned to celebrate both the history and the current era of cultural innovation in the locale famous for the Benin Bronzes, cultural objects stolen from the king's palace by British soldiers in the nineteenth century.
Preparation and Promise
It is notable – and ahead of the anticipated opening, Mowaa was buzzing with staff determined to show it is a place that can compete with renowned museums and galleries in the Europe and America.
Within conservators carefully opened artworks from secure wrapping, examining each item and taking thorough records before placing them on walls and plinths.
Experts fine-tuned temperature regulation systems. In the research lab, officers calibrated equipment meant to preserve ancient items.
Financial Backing and Economic Vision
The project has been the brainchild of businessman Phillip Ihenacho – now Mowaa's chief executive.
"I want us to have a significant economic benefit on communities in this region," he explained to journalists, adding that he wanted to make Benin City "a cultural destination."
Mowaa, a charitable local organization, sees itself creating more than 30,000 direct and indirect jobs and contributing above $80m per year to the local cultural industry through collaborations and activities.
Funding Sources and Political Challenges
It has taken $25m to reach this point – funds gathered from multiple donors, featuring the French and German governments, the London institution and the regional authorities.
But currently the local government has withdrawn support from under it – revoking the utilization of the property on which the museum was built.
An official representative stated this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently eliminated "Edo" from its designation.
Demonstrations and Government Action
This announcement was preceded by rallies on recently, when protesters stormed the campus calling for it be called the Royal Benin Museum.
A disruptive crowd insulted foreign guests at the venue prior to the launch – compelling them to be escorted out under police escort.
President Bola Tinubu has also become involved to work to address the dispute, setting up a high-level committee to do some damage control.
Political Complexities
But how has this turned into so politicised – and such a PR disaster?
The majority of it results from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance finished last year – who was a primary advocate of the project.
And it seems the administration of the current leader, a close ally of the local traditional ruler, referred to as the Oba, may want more of a stake in the venture. The activists on the weekend, for instance, were insisting that the institution be put under the control of the royal leader.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the cultural artifacts, one of the region's most famous artistic heritage.
Because even if the museum does ultimately begin operations, these objects will be noticeably missing.
They are metal, ivory and timber artworks that once adorned the monarch's home of the ancient kingdom before British soldiers stole them in 1897 during a punitive expedition.
Currently, thousands stay spread across institutions in Europe and North America -- featuring the UK institution, Berlin's Humboldt Forum and the New York institution.
Restitution Efforts
Their repatriation has become one of the most debated debates in the global art world. About 150 have presently made their way home – and further are scheduled to be repatriated.
When ideas for the facility in the city were originally proposed in recent years, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a state-of-the-art campus to exhibit them to the world.
But the waters were muddied some time back after the central administration stated that the traditional ruler would be the proper guardian of any returned bronzes – and the palace advocated for a facility under the monarch's supervision, opposing the desires of the former governor.
Strategic Positioning
This left Mowaa in a delicate position: asserting a definite position on return while being careful on ownership – and stressing its broader vision, which led to|c
