🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has found itself in the middle of area political conflicts during the time it was scheduled to – but failed – to welcome visitors to the visitors for the first time.

The Grand Vision

The six-hectare complex stands in the heart of the Edo state capital, capital of the southern state of Edo – and includes an excavation site and buildings planned by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the development – and is planned to honor both the history and the current era of artistic expression in the area famous for the cultural artifacts, historical pieces stolen from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is notable – and prior to the scheduled opening, Mowaa was active with employees resolved to show it is a venue that can rival well-known art institutions in the West.

Inside conservators precisely revealed cultural items from secure wrapping, checking each artifact and taking detailed notes before arranging them on walls and stands.

Technicians adjusted environmental controls. In the materials science laboratory, personnel adjusted devices meant to conserve ancient objects.

Financial Backing and Economic Vision

The initiative has been the concept of businessman Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a significant economic benefit on local residents around here," he explained to the press, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit Nigerian institution, sees itself establishing over 30,000 direct and indirect jobs and providing over $80m per year to the local cultural industry through alliances and events.

Financial Support and Government Issues

It has taken $25m to achieve this stage – capital collected from multiple supporters, featuring the French and German governments, the UK museum and the regional authorities.

But at present the regional administration has pulled the rug from under it – terminating the utilization of the site on which the museum was built.

An government communicator stated this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had since eliminated "the regional name" from its name.

Protests and Political Intervention

This announcement followed demonstrations on the weekend, when activists invaded the campus demanding it be named the Benin Royal Museum.

A boisterous crowd harassed foreign guests at the museum prior to the launch – requiring them to be quickly removed under security protection.

President Bola Tinubu has also stepped in to work to address the conflict, setting up a presidential committee to manage the situation.

Governance Issues

But why has this become so divisive – and such a reputation problem?

Much of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a key supporter of the museum.

And it seems the leadership of the new governor, a key associate of the regional monarch, known as the Oba, may desire increased control in the project. The activists on the weekend, for example, were insisting that the museum be positioned under the authority of the current Oba.

The Historical Objects Discussion

This brings into focus the controversial matter of the Benin Bronzes, one of Africa's most famous artistic heritage.

Because even if the institution does eventually open, these bronzes will be clearly not present.

They are brass, elephant tusk and wooden sculptures that once adorned the king's residence of the Benin Kingdom before colonial troops stole them in 1897 during a punitive expedition.

Currently, many continue to be spread across museums in Western nations -- featuring the UK institution, German museum and the American museum.

Repatriation Campaigns

Their return has become one of the most contested conversations in the global art world. Roughly 150 have now come back – and further are due to follow.

When ideas 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 state-of-the-art facility to display them to the global audience.

But the issues became confused recently after the federal government announced that the traditional ruler would be the proper guardian of returned objects – and the monarch's court advocated for a facility under the monarch's supervision, against the preferences of the ex-leader.

Strategic Positioning

This left Mowaa in a delicate position: expressing a specific viewpoint on repatriation while staying tactful on ownership – and highlighting its wider mission, which led to|c