Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the middle of local power politics during the time it was supposed to – but did not manage – to welcome visitors to the visitors for the very first time.
The Grand Vision
The large-scale complex sits in the core of the Edo state capital, capital of the southern state of Edo – and features an archaeological dig and structures designed by renowned British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington DC in 2016.
It has been 60 months in the development – and is planned to showcase both the heritage and the present of creativity in the area famous for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the nineteenth century.
Setup and Prospects
It is remarkable – and ahead of the scheduled opening, Mowaa was buzzing with workers resolved to demonstrate it is a place that can rival well-known museums and galleries in the Western world.
Within conservators carefully opened art pieces from protective packaging, inspecting each item and taking thorough notes before placing them on walls and plinths.
Experts fine-tuned environmental controls. In the scientific facility, officers set up devices intended to conserve historical objects.
Funding and Economic Goals
The venture has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.
"I aim us to have a significant economic impact on local residents in the vicinity," he stated to journalists, noting that he aspired to make Benin City "an arts hub."
Mowaa, a charitable national foundation, sees itself creating more than 30,000 employment opportunities and providing over $80m each year to the regional creative economy through alliances and programming.
Investment and Administrative Problems
It has required $25m to get here – money gathered from multiple contributors, including the international partners, the London institution and the Edo state government.
But currently the regional administration has revoked permission from beneath it – revoking the utilization of the land on which the museum was built.
An Edo state spokesperson explained this was because in the initial documents it had referred to itself as the Edo-named institution – and it had since eliminated "the regional name" from its name.
Demonstrations and Government Action
This statement came after rallies on Sunday, when activists invaded the campus demanding it be called the Royal Benin Museum.
A disruptive crowd confronted overseas dignitaries at the venue ahead of the launch – requiring them to be quickly removed under official guard.
National leader Bola Tinubu has also intervened to attempt to settle the tensions, establishing a high-level committee to address the controversy.
Governance Issues
But in what way has this evolved into so divisive – and such a reputation problem?
The majority of it stems from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended the previous year – who was a key supporter of the museum.
And it looks like the leadership of the recently elected official, a key associate of the local traditional ruler, called the Oba, may seek greater involvement in the project. The protesters on the weekend, for instance, were insisting that the museum be placed under the authority of the royal leader.
The Historical Objects Discussion
This highlights the contentious issue of the Benin Bronzes, one of the continent's most renowned cultural treasures.
Because although the facility does eventually welcome visitors, these objects will be noticeably missing.
They are metal, elephant tusk and wooden carvings that once decorated the royal palace of the historical empire before colonial troops stole them in the colonial era during a punitive expedition.
Today, many stay spread across galleries in Europe and North America -- featuring the UK institution, German museum and the Metropolitan Museum of Art.
Repatriation Campaigns
Their repatriation has become one of the most disputed conversations in the global art world. Roughly 150 have now come back – and additional are due to follow.
When plans for the institution in the city were first announced in 2019, the movers and shakers on the national arts community expected it would become their ideal location – a modern facility to exhibit them to the world.
But the issues became confused recently after the national authorities announced that the royal leader would be the legal custodian of any returned bronzes – and the palace pushed for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.
Diplomatic Challenges
This placed Mowaa in a difficult situation: asserting a specific viewpoint on return while being careful on ownership – and highlighting its larger purpose, which led to|c
