🔗 Share this article

The nation's remarkable new Art Museum of West Africa (Mowaa) has found itself in the middle of regional political struggles during the time it was supposed to – but did not manage – to open its doors to the general public for the initial occasion.

The Major Initiative

The large-scale facility is located in the center of the Edo state capital, main city of the southern region of Edo – and includes an historical dig and buildings created by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is designed to showcase both the past and the current era of artistic expression in the area famous for the cultural artifacts, artworks stolen from the royal palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the planned opening, Mowaa was active with staff committed to prove it is a venue that can compete with well-known museums and galleries in the West.

Inside preservation experts precisely opened cultural items from protective packaging, examining each item and taking meticulous notes before arranging them on exhibition areas and bases.

Experts adjusted temperature regulation systems. In the materials science laboratory, personnel set up equipment meant to preserve centuries-old artefacts.

Funding and Economic Goals

The initiative has been the concept of businessman Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a substantial economic benefit on local residents in this region," he stated to journalists, adding that he wanted to make Benin City "an arts hub."

Mowaa, a non-profit Nigerian institution, envisions itself creating over 30,000 employment opportunities and contributing above $80m per year to the local cultural industry through partnerships and programming.

Funding Sources and Political Challenges

It has needed $25m to get here – money collected from different donors, featuring the international partners, the UK museum and the Edo state government.

But at present the local government has withdrawn support from beneath it – terminating the occupancy of the land on which the building was erected.

An government communicator clarified this was because in the initial documents it had identified as Edo Museum of West African Art – and it had subsequently eliminated "the regional name" from its name.

Demonstrations and Government Action

This announcement was preceded by rallies on Sunday, when people stormed the complex calling for it be called the Benin Royal Museum.

A rowdy crowd harassed international visitors at the facility ahead of the opening – requiring them to be hurried away under police escort.

National leader Bola Tinubu has also become involved to try and resolve the tensions, establishing a presidential committee to do some damage control.

Governance Issues

But why has this become so controversial – and such a reputation problem?

The majority of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office finished last year – who was a major backer of the initiative.

And it looks like the leadership of the recently elected official, a key associate of the area king, called the royal figure, may desire greater involvement in the project. The activists on that day, for example, were calling for that the institution be placed under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the historical artworks, one of Africa's most famous cultural treasures.

Because though the institution does ultimately begin operations, these bronzes will be conspicuously absent.

They are brass, ivory and wooden artworks that once decorated the king's residence of the historical empire before British soldiers looted them in the colonial era during a punitive expedition.

Currently, many remain scattered across galleries in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most contested debates in the worldwide cultural sector. Roughly 150 have presently come back – and further are due to follow.

When proposals for the facility in Benin City were first announced in 2019, the movers and shakers on the national arts community anticipated it would become their natural home – a advanced complex to show them off to the global audience.

But the situation became complicated some time back after the national authorities declared that the royal leader would be the proper guardian of any returned bronzes – and the palace advocated for a facility under the royal family's direct control, against the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a specific viewpoint on restitution while staying tactful on guardianship – and stressing its broader vision, which led to|c