🔗 Share this article

The nation's remarkable new Museum of West African Art (Mowaa) has ended up in the crosshairs of area political conflicts during the period it was expected to – but was unable – to welcome visitors to the public for the initial occasion.

The Ambitious Project

The 15-acre campus sits in the center of Benin City, main city of the southern state of Edo – and contains an historical dig and facilities designed by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been five years in the creation – and is planned to honor both the heritage and the present of creativity in the locale famous for the historic artworks, cultural objects looted from the royal palace by UK forces in the 1800s.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was buzzing with employees determined to demonstrate it is a institution that can compete with well-known art institutions in the Western world.

Within preservation experts carefully revealed cultural items from safety materials, examining each artifact and taking meticulous records before positioning them on display surfaces and plinths.

Technicians adjusted temperature regulation systems. In the materials science laboratory, personnel adjusted devices designed to preserve ancient objects.

Funding and Economic Goals

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

"I aim us to have a significant economic benefit on communities in the vicinity," he explained to media outlets, noting that he wanted to make Benin City "a cultural destination."

Mowaa, a charitable Nigerian institution, sees itself creating in excess of 30,000 work positions and adding over $80m each year to the local cultural industry through partnerships and activities.

Financial Support and Government Issues

It has needed $25m to get here – capital raised from multiple donors, such as the international partners, the London institution and the local administration.

But at present the local government has revoked permission from under it – terminating the occupancy of the site on which the building was erected.

An Edo state spokesperson explained this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had subsequently removed "Edo" from its designation.

Unrest and Official Response

This declaration followed demonstrations on Sunday, when protesters invaded the complex demanding it be called the Benin Royal Museum.

A disruptive group insulted international visitors at the facility prior to the opening – requiring them to be escorted out under official guard.

Head of state Bola Tinubu has also intervened to work to address the tensions, setting up a presidential committee to do some damage control.

Administrative Challenges

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

Much of it comes down to internal conflicts at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office finished last year – who was a key supporter of the museum.

And it looks like the leadership of the current leader, a key associate of the local traditional ruler, referred to as the Oba, may desire more of a stake in the venture. The protesters on the weekend, for instance, were calling for that the facility be put under the supervision of the current Oba.

The Cultural Artifacts Debate

This highlights the contentious issue of the Benin Bronzes, one of the continent's most renowned cultural treasures.

Because although the facility does ultimately welcome visitors, these bronzes will be noticeably missing.

They are brass, ivory and wooden sculptures that once decorated the royal palace of the ancient kingdom before British soldiers looted them in the colonial era during a colonial invasion.

Nowadays, thousands remain scattered across galleries in Western nations -- including the British Museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their repatriation has become one of the most disputed conversations in the worldwide cultural sector. Approximately 150 have now made their way home – and more are expected to return.

When plans for the facility in Benin City were originally proposed in 2019, the influential figures on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art campus to exhibit them to the world.

But the waters were muddied some time back after the federal government stated that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court campaigned for a institution under the monarch's supervision, against the wishes of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a clear stance on return while being careful on guardianship – and stressing its wider mission, which led to|c