The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the week it was supposed to – but failed – to open its doors to the public for the very first time.
The Grand Vision
The large-scale campus is located in the center of Benin City, main city of the southern state of Edo – and features an historical dig and structures created by renowned British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.
It has been half a decade in the making – and is planned to celebrate both the past and the current era of cultural innovation in the locale renowned for the cultural artifacts, artworks taken from the royal palace by British soldiers in the 1800s.
Setup and Prospects
It is notable – and prior to the scheduled opening, Mowaa was buzzing with employees resolved to demonstrate it is a institution that can rival renowned art institutions in the Western world.
Within conservators carefully unwrapped artworks from safety materials, checking each piece and taking thorough documentation before placing them on display surfaces and stands.
Technicians fine-tuned environmental controls. In the research lab, officers adjusted instruments meant to preserve centuries-old objects.
Investment and Economic Plans
The venture has been the idea of businessman Phillip Ihenacho – presently Mowaa's executive director.
"I aim us to have a major economic impact on local residents in the vicinity," he told the press, mentioning that he hoped to make Benin City "an arts hub."
Mowaa, a not-for-profit local organization, aims at creating in excess of 30,000 direct and indirect jobs and adding over $80m annually to the area arts sector through collaborations and activities.
Funding Sources and Political Challenges
It has required $25m to reach this point – funds raised from multiple donors, featuring the European governments, the London institution and the Edo state government.
But at present the regional administration has revoked permission from below it – revoking the use of the site on which the building was erected.
An Edo state spokesperson explained this was because in the early agreements it had identified as EMOWAA – and it had since dropped "Edo" from its name.
Protests and Political Intervention
This statement followed rallies on the weekend, when protesters invaded the facility demanding it be designated the Royal Benin Museum.
A disruptive crowd confronted foreign guests at the venue prior to the launch – compelling them to be hurried away under official guard.
President Bola Tinubu has even intervened to try and resolve the conflict, creating a high-level committee to address the controversy.
Political Complexities
But in what way has this turned into so divisive – and such a public relations crisis?
Much of it comes down to local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished last year – who was a primary advocate of the museum.
And it seems the leadership of the new governor, a strong supporter of the regional monarch, referred to as the Oba, may seek greater involvement in the project. The protesters on the weekend, for case, were insisting that the museum be put under the supervision of the royal leader.
The Benin Bronzes Controversy
This highlights the controversial matter of the cultural artifacts, one of Africa's most celebrated historical legacy.
Because though the museum does ultimately welcome visitors, these artifacts will be conspicuously absent.
They are brass, elephant tusk and wooden sculptures that once adorned the royal palace of the ancient kingdom before British soldiers looted them in the late nineteenth century during a colonial invasion.
Currently, many continue to be distributed across museums in the West -- featuring the London museum, German museum and the New York institution.
Repatriation Campaigns
Their return has become one of the most debated conversations in the international art community. Approximately 150 have now made their way home – and further are due to follow.
When plans for the museum in the city were originally proposed in the pre-pandemic era, the movers and shakers on Nigeria's art scene expected it would become their ideal location – a modern campus to show them off to the international community.
But the situation became complicated recently after the national authorities declared that the Oba would be the legal custodian of any returned bronzes – and the royal household advocated for a institution under the royal family's direct control, opposing the wishes of the ex-leader.
Diplomatic Challenges
This placed Mowaa in a difficult situation: expressing a clear stance on return while being careful on guardianship – and emphasising its broader vision, which led to|c
