Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the center of local power politics during the period it was expected to – but was unable – to welcome visitors to the general public for the very first time.
The Ambitious Project
The 15-acre campus sits in the heart of Benin's urban center, capital of the southern state of Edo – and includes an archaeological dig and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in Washington DC in 2016.
It has been five years in the development – and is designed to showcase both the past and the current era of artistic expression in the area known for the Benin Bronzes, artworks taken from the city's royal palace by British soldiers in the 1800s.
Readiness and Potential
It is remarkable – and prior to the scheduled opening, Mowaa was buzzing with workers determined to show it is a place that can compete with well-known museums and galleries in the West.
Inside art restorers carefully revealed cultural items from protective packaging, checking each piece and taking detailed documentation before arranging them on walls and bases.
Specialists adjusted temperature regulation systems. In the scientific facility, personnel adjusted instruments designed to maintain centuries-old artefacts.
Funding and Economic Goals
The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.
"I want us to have a substantial financial effect on area populations around here," he stated to journalists, mentioning that he wanted to make Benin City "a tourism center."
Mowaa, a non-profit local organization, envisions itself generating more than 30,000 work positions and adding above $80m each year to the local cultural industry through alliances and activities.
Financial Support and Government Issues
It has required $25m to reach this point – funds raised from multiple contributors, such as the French and German governments, the British Museum and the local administration.
But currently the regional administration has revoked permission from below it – canceling the use of the site on which the museum was built.
An official representative stated this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had subsequently eliminated "Edo" from its title.
Protests and Political Intervention
This announcement came after demonstrations on the weekend, when protesters invaded the complex insisting it be called the Royal Benin Museum.
A boisterous assembly harassed international visitors at the museum before the launch – requiring them to be escorted out under security protection.
Head of state Bola Tinubu has even become involved to attempt to settle the conflict, creating a high-level committee to address the controversy.
Political Complexities
But how has this turned into so controversial – and such a PR disaster?
A great deal of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a primary advocate of the museum.
And it appears the leadership of the new governor, a key associate of the local traditional ruler, referred to as the Oba, may desire more of a stake in the project. The activists on the weekend, for instance, were calling for that the facility be placed under the control of the royal leader.
The Historical Objects Discussion
This highlights the disputed topic of the historical artworks, one of the continent's most renowned historical legacy.
Because though the museum does eventually welcome visitors, these objects will be conspicuously absent.
They are metal, elephant tusk and wooden artworks that once adorned the royal palace of the Benin Kingdom before UK forces stole them in 1897 during a punitive expedition.
Today, many remain spread across institutions in Europe and North America -- featuring the UK institution, European center and the Metropolitan Museum of Art.
Return Initiatives
Their return has become one of the most debated discussions in the global art world. About 150 have currently been returned – and more are due to follow.
When ideas for the museum in the city were first announced in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their natural home – a advanced complex to exhibit them to the international community.
But the issues became confused some time back after the national authorities stated that the Oba would be the legal custodian of any returned bronzes – and the royal household pushed for a facility under the monarch's supervision, against the preferences of the ex-leader.
Strategic Positioning
This left Mowaa in a challenging circumstance: maintaining a definite position on restitution while remaining diplomatic on ownership – and stressing its wider mission, which led to|c