🔗 Share this article

Nigeria's remarkable new Museum of West African Art (Mowaa) has ended up in the crosshairs of local power politics during the week it was expected to – but failed – to begin operations to the public for the very first time.

The Grand Vision

The 15-acre facility sits in the core of Benin City, administrative center of the southern area of Edo – and features an historical dig and facilities designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington in 2016.

It has been five years in the development – and is planned to honor both the heritage and the present of cultural innovation in the area known for the cultural artifacts, cultural objects taken from the king's palace by British troops in the 19th Century.

Setup and Prospects

It is remarkable – and prior to the planned opening, Mowaa was buzzing with staff determined to demonstrate it is a place that can match well-known museums and galleries in the Europe and America.

Inside conservators carefully revealed cultural items from safety materials, inspecting each artifact and taking detailed documentation before placing them on walls and plinths.

Technicians adjusted environmental controls. In the scientific facility, officers set up instruments meant to preserve ancient items.

Investment and Economic Plans

The venture has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.

"I aim us to have a significant economic benefit on local residents around here," he stated to the press, mentioning that he hoped to make Benin City "an arts hub."

Mowaa, a not-for-profit Nigerian institution, sees itself creating more than 30,000 direct and indirect jobs and contributing over $80m annually to the local cultural industry through collaborations and programming.

Funding Sources and Political Challenges

It has needed $25m to get here – money gathered from multiple supporters, such as the international partners, the London institution and the Edo state government.

But currently the regional administration has pulled the rug from below it – canceling the use of the property on which the museum was built.

An Edo state spokesperson clarified this was because in the early agreements it had identified as Edo Museum of West African Art – and it had later dropped "Edo" from its name.

Demonstrations and Government Action

This announcement was preceded by rallies on recently, when protesters entered the campus insisting it be designated the Benin Royal Museum.

A disruptive crowd confronted overseas dignitaries at the venue prior to the opening – compelling them to be hurried away under security protection.

National leader Bola Tinubu has even intervened to attempt to settle the conflict, setting up a presidential committee to address the controversy.

Administrative Challenges

But why has this evolved into so politicised – and such a public relations crisis?

Much of it comes down to internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended the previous year – who was a primary advocate of the initiative.

And it seems the government of the new governor, a strong supporter of the area king, called the traditional leader, may want more of a stake in the project. The activists on the weekend, for instance, were demanding that the institution be positioned under the authority of the current Oba.

The Historical Objects Discussion

This brings into focus the disputed topic of the cultural artifacts, one of the region's most famous artistic heritage.

Because although the institution does eventually begin operations, these bronzes will be conspicuously absent.

They are metal, ivory and wooden carvings that once decorated the king's residence of the ancient kingdom before British soldiers looted them in the colonial era during a colonial invasion.

Currently, numerous continue to be scattered across museums in Europe and North America -- such as the UK institution, European center and the American museum.

Repatriation Campaigns

Their homecoming has become one of the most disputed conversations in the global art world. Roughly 150 have currently made their way home – and additional are scheduled to be repatriated.

When ideas for the facility in the city were initially revealed in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a modern complex to show them off to the global audience.

But the issues became confused some time back after the central administration declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace pushed for a museum under the king's authority, contrary to the wishes of the former governor.

Diplomatic Challenges

This left Mowaa in a difficult situation: maintaining a specific viewpoint on return while staying tactful on guardianship – and emphasising its larger purpose, which led to|c