🔗 Share this article

The nation's stunning new Art Museum of West Africa (Mowaa) has landed in the center of local power politics during the time it was expected to – but did not manage – to welcome visitors to the public for the initial occasion.

The Grand Vision

The six-hectare complex sits in the center of Benin's urban center, administrative center of the southern area of Edo – and includes an excavation site and facilities created by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that began operations in Washington in 2016.

It has been five years in the development – and is envisioned to celebrate both the heritage and the present of artistic expression in the locale renowned for the Benin Bronzes, historical pieces stolen from the royal palace by UK forces in the 19th Century.

Readiness and Potential

It is remarkable – and prior to the anticipated opening, Mowaa was buzzing with employees determined to demonstrate it is a institution that can compete with well-known art institutions in the Europe and America.

Within conservators meticulously unwrapped art pieces from protective packaging, checking each item and taking detailed records before arranging them on exhibition areas and plinths.

Experts calibrated climate control systems. In the materials science laboratory, staff members calibrated equipment meant to maintain ancient items.

Funding and Economic Goals

The project has been the concept of investor Phillip Ihenacho – presently Mowaa's executive director.

"I want us to have a significant economic benefit on communities in the vicinity," he explained to journalists, mentioning that he aspired to make the city "a tourism center."

Mowaa, a non-profit local organization, aims at establishing in excess of 30,000 employment opportunities and providing over $80m annually to the regional creative economy through alliances and activities.

Financial Support and Government Issues

It has needed $25m to achieve this stage – money raised from different donors, such as the European governments, the British Museum and the local administration.

But currently the state authorities has pulled the rug from under it – terminating the use of the site on which the facility was constructed.

An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as EMOWAA – and it had since dropped "Edo" from its name.

Demonstrations and Government Action

This declaration followed protests on Sunday, when activists invaded the campus calling for it be named the Royal Benin Museum.

A disruptive assembly confronted overseas dignitaries at the facility ahead of the opening – compelling them to be quickly removed under police escort.

Head of state Bola Tinubu has additionally stepped in to try and resolve the conflict, establishing a special task force to address the controversy.

Governance Issues

But in what way has this evolved into so controversial – and such a public relations crisis?

Much of it stems from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended recently – who was a major backer of the project.

And it appears the government of the current leader, a strong supporter of the regional monarch, known as the traditional leader, may seek greater involvement in the project. The activists on Sunday, for example, were calling for that the institution be placed under the control of the royal leader.

The Cultural Artifacts Debate

This emphasizes the contentious issue of the Benin Bronzes, one of the region's most famous historical legacy.

Because even if the museum does ultimately open, these bronzes will be conspicuously absent.

They are brass, ivory and timber artworks that once decorated the king's residence of the historical empire before colonial troops stole them in the late nineteenth century during a colonial invasion.

Nowadays, many remain distributed across institutions in the West -- such as the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed discussions in the international art community. Approximately 150 have currently made their way home – and more are expected to return.

When proposals for the facility in the city were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene anticipated it would become their natural home – a advanced campus to display them to the world.

But the waters were muddied two years ago after the national authorities declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a institution under the monarch's supervision, contrary to the wishes of Obaseki.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a clear stance on return while staying tactful on ownership – and emphasising its larger purpose, which led to|c