Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the week it was expected to – but failed – to open its doors to the general public for the very first time.
The Ambitious Project
The large-scale facility sits in the center of Benin City, capital of the southern state of Edo – and features an excavation site and structures planned by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in the US capital in 2016.
It has been five years in the making – and is envisioned to celebrate both the past and the modern times of artistic expression in the region renowned for the Benin Bronzes, cultural objects stolen from the king's palace by UK forces in the 19th Century.
Readiness and Potential
It is remarkable – and prior to the scheduled opening, Mowaa was buzzing with employees committed to show it is a venue that can rival renowned cultural centers in the West.
Internally conservators precisely opened artworks from secure wrapping, checking each artifact and taking thorough records before arranging them on walls and bases.
Technicians adjusted temperature regulation systems. In the materials science laboratory, officers set up instruments intended to maintain ancient artefacts.
Investment and Economic Plans
The initiative has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.
"I want us to have a major economic impact on area populations in this region," he explained to the press, mentioning that he hoped to make this urban center "a tourism center."
Mowaa, a charitable national foundation, aims at creating in excess of 30,000 work positions and providing above $80m per year to the local cultural industry through partnerships and activities.
Investment and Administrative Problems
It has taken $25m to reach this point – capital gathered from multiple supporters, including the French and German governments, the UK museum and the Edo state government.
But now the regional administration has pulled the rug from below it – revoking the utilization of the site on which the facility was constructed.
An official representative clarified this was because in the early agreements it had referred to itself as the Edo-named institution – and it had later removed "the regional name" from its designation.
Protests and Political Intervention
This statement came after rallies on the weekend, when people invaded the facility demanding it be called the Royal Benin Museum.
A rowdy assembly insulted international visitors at the facility prior to the inauguration – compelling them to be escorted out under security protection.
President Bola Tinubu has also intervened to attempt to settle the dispute, establishing a high-level committee to do some damage control.
Political Complexities
But why has this turned into so divisive – and such a PR disaster?
Much of it results from local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the museum.
And it seems the leadership of the new governor, a key associate of the local traditional ruler, referred to as the royal figure, may desire increased control in the project. The protesters on that day, for example, were insisting that the museum be positioned under the control of the current Oba.
The Historical Objects Discussion
This highlights the disputed topic of the cultural artifacts, one of the region's most renowned artistic heritage.
Because even if the institution does eventually welcome visitors, these bronzes will be conspicuously absent.
They are metal, elephant tusk and timber sculptures that once decorated the monarch's home of the Benin Kingdom before British soldiers took them in the colonial era during a punitive expedition.
Today, numerous remain spread across museums in Europe and North America -- including the British Museum, German museum and the American museum.
Restitution Efforts
Their repatriation has become one of the most debated conversations in the international art community. About 150 have presently made their way home – and further are expected to return.
When plans for the museum in the urban center were first announced in 2019, the key players on the country's cultural sector hoped it would become their ideal location – a state-of-the-art facility to display them to the global audience.
But the waters were muddied recently after the central administration stated that the Oba would be the proper guardian of any returned bronzes – and the royal household pushed for a facility under the king's authority, against the preferences of the former governor.
Diplomatic Challenges
This placed Mowaa in a difficult situation: maintaining a clear stance on repatriation while remaining diplomatic on ownership – and stressing its wider mission, which led to|c
