The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of regional political struggles during the period it was scheduled to – but was unable – to welcome visitors to the public for the initial occasion.
The Ambitious Project
The 15-acre campus stands in the heart of Benin's urban center, capital of the southern area of Edo – and includes an excavation site and buildings planned by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.
It has been five years in the making – and is planned to honor both the past and the current era of artistic expression in the area renowned for the Benin Bronzes, cultural objects taken from the city's royal palace by British soldiers in the nineteenth century.
Readiness and Potential
It is impressive – and ahead of the scheduled opening, Mowaa was energetic with workers committed to prove it is a institution that can rival established museums and galleries in the Europe and America.
Internally conservators carefully opened art pieces from safety materials, checking each item and taking detailed notes before positioning them on walls and stands.
Experts calibrated temperature regulation systems. In the materials science laboratory, personnel calibrated devices designed to conserve ancient objects.
Financial Backing and Economic Vision
The venture has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.
"I want us to have a substantial economic impact on local residents in the vicinity," he told journalists, adding that he aspired to make Benin City "a cultural destination."
Mowaa, a charitable Nigerian institution, aims at generating more than 30,000 work positions and adding over $80m each year to the regional creative economy through collaborations and events.
Financial Support and Government Issues
It has taken $25m to reach this point – funds raised from various donors, including the international partners, the London institution and the regional authorities.
But at present the local government has pulled the rug from under it – revoking the use of the land on which the museum was built.
An official representative explained this was because in the original paperwork it had identified as EMOWAA – and it had since removed "the state identifier" from its name.
Demonstrations and Government Action
This statement followed rallies on the weekend, when people stormed the campus calling for it be called the Museum of the Benin Kingdom.
A boisterous group insulted international visitors at the museum ahead of the opening – requiring them to be escorted out under police escort.
National leader Bola Tinubu has also intervened to work to address the conflict, setting up a high-level committee to address the controversy.
Governance Issues
But how has this become so politicised – and such a public relations crisis?
The majority of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a major backer of the initiative.
And it seems the government of the recently elected official, a key associate of the area king, called the traditional leader, may seek greater involvement in the project. The demonstrators on the weekend, for case, were demanding that the institution be positioned under the authority of the current Oba.
The Historical Objects Discussion
This brings into focus the contentious issue of the cultural artifacts, one of the region's most celebrated cultural treasures.
Because though the facility does finally welcome visitors, these objects will be clearly not present.
They are brass, ivory and wooden artworks that once adorned the royal palace of the Benin Kingdom before UK forces took them in the colonial era during a punitive expedition.
Currently, many remain distributed across museums in Western nations -- including the UK institution, European center and the American museum.
Repatriation Campaigns
Their return has become one of the most contested debates in the worldwide cultural sector. About 150 have now come back – and further are expected to return.
When proposals for the museum 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 natural home – a state-of-the-art campus to show them off to the international community.
But the situation became complicated some time back after the national authorities declared that the Oba would be the proper guardian of repatriated artifacts – and the palace campaigned for a institution under the royal family's direct control, against the preferences of the former governor.
Diplomatic Challenges
This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on repatriation while being careful on guardianship – and stressing its broader vision, which led to|c
