Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but failed – to begin operations to the public for the initial occasion.
The Grand Vision
The 15-acre campus stands in the heart of Benin's urban center, capital of the southern region of Edo – and contains an archaeological dig and structures designed by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.
It has been five years in the development – and is envisioned to celebrate both the past and the current era of cultural innovation in the region famous for the historic artworks, artworks looted from the royal palace by British troops in the 19th Century.
Readiness and Potential
It is remarkable – and prior to the scheduled opening, Mowaa was buzzing with workers determined to show it is a venue that can rival well-known museums and galleries in the West.
Internally preservation experts carefully revealed art pieces from secure wrapping, inspecting each artifact and taking thorough documentation before placing them on exhibition areas and bases.
Technicians adjusted climate control systems. In the materials science laboratory, officers set up equipment meant to preserve ancient objects.
Investment and Economic Plans
The venture has been the idea of investor Phillip Ihenacho – now Mowaa's chief executive.
"I hope us to have a major financial effect on local residents around here," he explained to journalists, adding that he wanted to make the city "an arts hub."
Mowaa, a non-profit local organization, envisions itself creating in excess of 30,000 direct and indirect jobs and providing above $80m annually to the area arts sector through partnerships and activities.
Financial Support and Government Issues
It has needed $25m to reach this point – funds gathered from various contributors, including the European governments, the UK museum and the local administration.
But at present the state authorities has withdrawn support from below it – terminating the use of the land on which the facility was constructed.
An official representative explained this was because in the early agreements it had called itself Edo Museum of West African Art – and it had since eliminated "the state identifier" from its designation.
Unrest and Official Response
This declaration came after rallies on recently, when people stormed the campus calling for it be named the Royal Benin Museum.
A disruptive group harassed overseas dignitaries at the facility before the opening – forcing them to be hurried away under official guard.
National leader Bola Tinubu has even stepped in to try and resolve the dispute, establishing a special task force to do some damage control.
Political Complexities
But in what way has this evolved into so politicised – and such a reputation problem?
Much of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose governance finished recently – who was a key supporter of the museum.
And it looks like the administration of the current leader, a strong supporter of the regional monarch, called the Oba, may want more of a stake in the venture. The protesters on that day, for instance, were insisting that the institution be put under the control of the royal leader.
The Cultural Artifacts Debate
This highlights the disputed topic of the Benin Bronzes, one of the region's most famous historical legacy.
Because although the museum does eventually open, these bronzes will be noticeably missing.
They are metal, elephant tusk and wooden sculptures that once embellished the royal palace of the historical empire before UK forces took them in the colonial era during a colonial invasion.
Nowadays, many continue to be distributed across museums in Western nations -- featuring the UK institution, European center and the Metropolitan Museum of Art.
Restitution Efforts
Their return has become one of the most contested debates in the international art community. Approximately 150 have presently been returned – and more are scheduled to be repatriated.
When plans for the museum in the city were initially revealed in the pre-pandemic era, the key players on the country's cultural sector anticipated it would become their ideal location – a state-of-the-art campus to exhibit them to the global audience.
But the waters were muddied recently after the central administration announced that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court advocated for a institution under the royal family's direct control, contrary to the preferences of the former governor.
Strategic Positioning
This placed Mowaa in a challenging circumstance: maintaining a clear stance on repatriation while being careful on custodianship – and emphasising its larger purpose, which led to|c
