Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the period it was scheduled to – but did not manage – to welcome visitors to the public for the very first time.
The Ambitious Project
The six-hectare facility stands in the center of Benin City, capital of the southern region of Edo – and contains an historical dig and buildings designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in the US capital in 2016.
It has been 60 months in the development – and is designed to honor both the past and the present of creativity in the region known for the Benin Bronzes, artworks looted from the royal palace by UK forces in the nineteenth century.
Preparation and Promise
It is notable – and ahead of the anticipated opening, Mowaa was active with employees resolved to show it is a venue that can rival well-known museums and galleries in the Europe and America.
Within preservation experts precisely revealed art pieces from protective packaging, examining each piece and taking detailed notes before placing them on display surfaces and stands.
Specialists fine-tuned climate control systems. In the research lab, personnel calibrated devices intended to preserve centuries-old items.
Investment and Economic Plans
The initiative has been the idea of businessman Phillip Ihenacho – now Mowaa's managing director.
"I want us to have a significant economic benefit on local residents in this region," he told the press, adding that he aspired to make Benin City "a tourism center."
Mowaa, a non-profit national foundation, envisions itself creating over 30,000 employment opportunities and adding above $80m each year to the regional creative economy through collaborations and programming.
Financial Support and Government Issues
It has required $25m to reach this point – funds collected from different supporters, featuring the international partners, the UK museum and the regional authorities.
But currently the regional administration has revoked permission from under it – revoking the occupancy of the land on which the museum was built.
An government communicator stated this was because in the original paperwork it had identified as EMOWAA – and it had later removed "the regional name" from its name.
Demonstrations and Government Action
This statement came after demonstrations on the weekend, when activists entered the facility demanding it be called the Museum of the Benin Kingdom.
A disruptive group harassed overseas dignitaries at the venue ahead of the inauguration – forcing them to be hurried away under official guard.
National leader Bola Tinubu has even become involved to try and resolve the conflict, setting up a special task force to address the controversy.
Governance Issues
But how has this become so politicised – and such a PR disaster?
A great deal of it results from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a key supporter of the initiative.
And it looks like the administration of the recently elected official, a close ally of the regional monarch, referred to as the traditional leader, may want more of a stake in the venture. The protesters on that day, for instance, were insisting that the facility be put under the authority of the current Oba.
The Cultural Artifacts Debate
This highlights the contentious issue of the historical artworks, one of the continent's most renowned artistic heritage.
Because even if the museum does finally begin operations, these artifacts will be clearly not present.
They are metal, ivory and timber artworks that once decorated the king's residence of the ancient kingdom before UK forces looted them in 1897 during a military operation.
Today, numerous remain spread across galleries in the West -- including the London museum, Berlin's Humboldt Forum and the New York institution.
Repatriation Campaigns
Their return has become one of the most disputed conversations in the international art community. About 150 have presently come back – and further are due to follow.
When plans for the museum in Benin City were initially revealed in the pre-pandemic era, the influential figures on the national arts community expected it would become their perfect venue – a advanced campus to display them to the international community.
But the issues became confused two years ago after the national authorities stated that the Oba would be the legal custodian of repatriated artifacts – and the royal household advocated for a institution under the king's authority, contrary to the desires of the ex-leader.
Diplomatic Challenges
This left Mowaa in a delicate position: expressing a specific viewpoint on repatriation while remaining diplomatic on custodianship – and highlighting its broader vision, which led to|c
