The nation's stunning new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the week it was supposed to – but was unable – to open its doors to the general public for the very first time.
The Major Initiative
The six-hectare complex is located in the heart of Benin City, capital of the southern region of Edo – and includes an excavation site and facilities planned by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.
It has been half a decade in the making – and is designed to showcase both the past and the modern times of creativity in the area famous for the cultural artifacts, artworks taken from the city's royal palace by British troops in the 1800s.
Preparation and Promise
It is notable – and prior to the scheduled opening, Mowaa was energetic with workers committed to show it is a institution that can compete with renowned cultural centers in the Europe and America.
Within art restorers precisely revealed art pieces from secure wrapping, checking each item and taking detailed documentation before placing them on display surfaces and plinths.
Technicians adjusted environmental controls. In the scientific facility, officers adjusted instruments designed to preserve ancient objects.
Funding and Economic Goals
The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's executive director.
"I aim us to have a significant economic benefit on local residents in this region," he told media outlets, mentioning that he hoped to make the city "an arts hub."
Mowaa, a not-for-profit Nigerian institution, sees itself creating over 30,000 direct and indirect jobs and providing over $80m each year to the regional creative economy through partnerships and activities.
Funding Sources and Political Challenges
It has taken $25m to reach this point – money gathered from multiple contributors, including the European governments, the UK museum and the regional authorities.
But now the local government has revoked permission from beneath it – canceling the utilization of the land on which the building was erected.
An official representative clarified this was because in the early agreements it had referred to itself as EMOWAA – and it had subsequently dropped "Edo" from its name.
Unrest and Official Response
This announcement came after protests on Sunday, when activists stormed the complex insisting it be designated the Museum of the Benin Kingdom.
A disruptive crowd insulted foreign guests at the museum ahead of the opening – forcing them to be quickly removed under official guard.
President Bola Tinubu has also intervened to attempt to settle the conflict, setting up a high-level committee to do some damage control.
Administrative Challenges
But how has this turned into so politicised – and such a reputation problem?
Much of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the project.
And it appears the administration of the recently elected official, a key associate of the local traditional ruler, known as the traditional leader, may seek greater involvement in the project. The protesters on the weekend, for example, were insisting that the institution be placed under the authority of the current Oba.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most celebrated cultural treasures.
Because although the museum does eventually welcome visitors, these objects will be conspicuously absent.
They are metal, elephant tusk and timber sculptures that once decorated the royal palace of the ancient kingdom before colonial troops took them in 1897 during a colonial invasion.
Currently, many stay distributed across institutions in Europe and North America -- such as the British Museum, European center and the New York institution.
Repatriation Campaigns
Their homecoming has become one of the most debated discussions in the international art community. About 150 have now been returned – and more are scheduled to be repatriated.
When plans for the institution in the city were initially revealed in the pre-pandemic era, the movers and shakers on the country's cultural sector anticipated it would become their natural home – a advanced facility to exhibit them to the global audience.
But the issues became confused two years ago after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the royal household advocated for a institution under the monarch's supervision, against the desires of the former governor.
Political Navigation
This left Mowaa in a delicate position: asserting a definite position on repatriation while being careful on guardianship – and highlighting its larger purpose, which led to|c
