🔗 Share this article

The nation's stunning new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but was unable – to begin operations to the visitors for the very first time.

The Ambitious Project

The large-scale complex is located in the core of Benin's urban center, capital of the southern region of Edo – and contains an historical dig and facilities designed by renowned dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the creation – and is planned to honor both the history and the modern times of cultural innovation in the locale renowned for the cultural artifacts, cultural objects taken from the king's palace by British soldiers in the 19th Century.

Readiness and Potential

It is notable – and prior to the planned opening, Mowaa was energetic with workers committed to prove it is a place that can rival well-known art institutions in the Western world.

Inside conservators carefully revealed artworks from safety materials, examining each artifact and taking detailed notes before arranging them on exhibition areas and plinths.

Experts fine-tuned environmental controls. In the research lab, personnel set up equipment designed to conserve ancient artefacts.

Investment and Economic Plans

The project has been the idea of investor Phillip Ihenacho – now Mowaa's chief executive.

"I hope us to have a major economic benefit on local residents around here," he stated to journalists, mentioning that he hoped to make this urban center "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at creating in excess of 30,000 direct and indirect jobs and providing more than $80m each year to the local cultural industry through collaborations and programming.

Financial Support and Government Issues

It has needed $25m to get here – capital gathered from different donors, including the international partners, the UK museum and the local administration.

But at present the state authorities has revoked permission from beneath it – canceling the occupancy of the land on which the building was erected.

An official representative explained this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently removed "the state identifier" from its name.

Unrest and Official Response

This declaration came after protests on Sunday, when protesters entered the facility insisting it be called the Museum of the Benin Kingdom.

A rowdy crowd insulted overseas dignitaries at the museum prior to the opening – forcing them to be hurried away under police escort.

President Bola Tinubu has also intervened to work to address the dispute, establishing a special task force to address the controversy.

Governance Issues

But why has this evolved into so politicised – and such a public relations crisis?

Much of it results from local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office finished last year – who was a major backer of the museum.

And it appears the government of the new governor, a close ally of the area king, called the Oba, may want more of a stake in the project. The demonstrators on Sunday, for case, were demanding that the institution be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This emphasizes the contentious issue of the Benin Bronzes, one of the continent's most renowned historical legacy.

Because even if the facility does eventually welcome visitors, these bronzes will be conspicuously absent.

They are metal, elephant tusk and wooden artworks that once embellished the king's residence of the ancient kingdom before British soldiers looted them in 1897 during a military operation.

Today, many continue to be spread across institutions in the West -- such as the London museum, European center and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most contested debates in the international art community. Approximately 150 have now been returned – and further are scheduled to be repatriated.

When plans for the institution in the urban center were first announced in the pre-pandemic era, the influential figures on Nigeria's art scene hoped it would become their natural home – a state-of-the-art facility to exhibit them to the international community.

But the waters were muddied two years ago after the central administration declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the palace advocated for a facility under the king's authority, against the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a definite position on repatriation while staying tactful on ownership – and emphasising its broader vision, which led to|c