Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the center of area political conflicts during the week it was expected 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 center of Benin City, capital of the southern region of Edo – and contains an archaeological dig and facilities created by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington DC in 2016.
It has been half a decade in the creation – and is envisioned to showcase both the past and the current era of artistic expression in the locale renowned for the historic artworks, cultural objects taken from the royal palace by British soldiers in the 1800s.
Setup and Prospects
It is impressive – and prior to the anticipated opening, Mowaa was buzzing with employees resolved to show it is a venue that can compete with established art institutions in the Western world.
Within preservation experts carefully unwrapped artworks from safety materials, inspecting each piece and taking detailed notes before placing them on exhibition areas and bases.
Technicians fine-tuned environmental controls. In the materials science laboratory, staff members set up instruments intended to preserve ancient items.
Financial Backing and Economic Vision
The project has been the concept of businessman Phillip Ihenacho – now Mowaa's chief executive.
"I aim us to have a major financial effect on communities around here," he told the press, mentioning that he hoped to make this urban center "a tourism center."
Mowaa, a charitable Nigerian institution, sees itself creating more than 30,000 direct and indirect jobs and providing over $80m each year to the local cultural industry through alliances and activities.
Investment and Administrative Problems
It has required $25m to reach this point – money gathered from different donors, featuring the European governments, the British Museum and the Edo state government.
But now the regional administration has pulled the rug from below it – terminating the occupancy of the site on which the building was erected.
An official representative stated this was because in the early agreements it had referred to itself as the Edo-named institution – and it had later eliminated "the regional name" from its name.
Protests and Political Intervention
This statement was preceded by demonstrations on Sunday, when protesters invaded the campus demanding it be named the Royal Benin Museum.
A rowdy crowd harassed overseas dignitaries at the museum ahead of the opening – forcing them to be escorted out under police escort.
Head of state Bola Tinubu has also intervened to work to address the tensions, creating a high-level committee to manage the situation.
Governance Issues
But why has this become so divisive – and such a PR disaster?
Much of it comes down to local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded recently – who was a major backer of the museum.
And it looks like the government of the recently elected official, a close ally of the local traditional ruler, referred to as the Oba, may want increased control in the project. The activists on the weekend, for case, were demanding that the museum be put under the authority of the royal leader.
The Benin Bronzes Controversy
This highlights the contentious issue of the historical artworks, one of Africa's most famous cultural treasures.
Because even if the institution does ultimately open, these objects will be clearly not present.
They are metal, elephant tusk and timber artworks that once decorated the royal palace of the ancient kingdom before colonial troops stole them in 1897 during a military operation.
Currently, thousands stay distributed across institutions in the West -- including the British Museum, German museum and the American museum.
Restitution Efforts
Their homecoming has become one of the most contested discussions in the international art community. About 150 have now been returned – and further are scheduled to be repatriated.
When proposals for the museum in the urban center were first announced in 2019, the movers and shakers on Nigeria's art scene hoped it would become their perfect venue – a modern facility to show them off to the international community.
But the issues became confused some time back after the national authorities declared that the royal leader would be the proper guardian of any returned bronzes – and the palace pushed for a facility under the monarch's supervision, opposing the desires of Obaseki.
Strategic Positioning
This left Mowaa in a challenging circumstance: expressing a clear stance on restitution while staying tactful on guardianship – and emphasising its larger purpose, which led to|c
