Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of area political conflicts during the time it was supposed to – but did not manage – to open its doors to the public for the very first time.
The Ambitious Project
The large-scale complex is located in the heart of Benin City, administrative center of the southern area of Edo – and contains an excavation site and buildings planned by renowned British-Ghanaian 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 60 months in the development – and is designed to celebrate both the past and the modern times of artistic expression in the area renowned for the historic artworks, historical pieces stolen from the royal palace by UK forces in the 19th Century.
Preparation and Promise
It is remarkable – and ahead of the planned opening, Mowaa was buzzing with workers resolved to prove it is a institution that can match renowned cultural centers in the Europe and America.
Within conservators carefully revealed artworks from secure wrapping, examining each item and taking detailed documentation before positioning them on display surfaces and bases.
Experts calibrated environmental controls. In the scientific facility, personnel calibrated equipment designed to preserve ancient objects.
Investment and Economic Plans
The initiative has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.
"I aim us to have a major economic benefit on local residents around here," he explained to media outlets, adding that he wanted to make the city "a tourism center."
Mowaa, a charitable national foundation, aims at establishing more than 30,000 employment opportunities and contributing over $80m per year to the local cultural industry through partnerships and programming.
Funding Sources and Political Challenges
It has needed $25m to reach this point – money collected from different donors, such as the European governments, the London institution and the regional authorities.
But currently the local government has withdrawn support from below it – revoking the use of the site on which the building was erected.
An official representative stated this was because in the initial documents it had identified as EMOWAA – and it had since eliminated "Edo" from its name.
Demonstrations and Government Action
This announcement was preceded by protests on the weekend, when people stormed the campus calling for it be named the Benin Royal Museum.
A rowdy assembly insulted overseas dignitaries at the museum ahead of the launch – compelling them to be quickly removed under police escort.
President Bola Tinubu has even intervened to attempt to settle the tensions, establishing a high-level committee to address the controversy.
Administrative Challenges
But how has this evolved into so divisive – and such a public relations crisis?
The majority of it results from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a major backer of the initiative.
And it seems the administration of the current leader, a strong supporter of the area king, called the Oba, may want increased control in the venture. The protesters on that day, for case, were demanding that the facility be placed under the authority of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the cultural artifacts, one of Africa's most renowned cultural treasures.
Because even if the institution does ultimately welcome visitors, these bronzes will be conspicuously absent.
They are brass, ivory and timber carvings that once embellished the king's residence of the ancient kingdom before colonial troops stole them in the colonial era during a colonial invasion.
Currently, thousands continue to be spread across galleries in Western nations -- featuring the UK institution, Berlin's Humboldt Forum and the American museum.
Return Initiatives
Their homecoming has become one of the most disputed debates in the international art community. About 150 have now made their way home – and additional are due to follow.
When proposals for the institution 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 modern campus to exhibit them to the international community.
But the situation became complicated recently after the national authorities announced that the royal leader would be the rightful owner of returned objects – and the palace campaigned for a facility under the royal family's direct control, opposing the wishes of the former governor.
Diplomatic Challenges
This placed Mowaa in a challenging circumstance: asserting a clear stance on repatriation while being careful on guardianship – and highlighting its larger purpose, which led to|c
