🔗 Share this article

The nation's stunning new West African Art Museum (Mowaa) has landed in the crosshairs of regional political struggles during the period it was scheduled to – but did not manage – to begin operations to the general public for the very first time.

The Ambitious Project

The large-scale facility sits in the center of Benin City, capital of the southern area of Edo – and features an archaeological dig and facilities designed by celebrated dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in the US capital in 2016.

It has been half a decade in the making – and is envisioned to showcase both the history and the modern times of artistic expression in the region renowned for the historic artworks, historical pieces looted from the king's palace by British troops in the nineteenth century.

Preparation and Promise

It is impressive – and ahead of the anticipated opening, Mowaa was energetic with workers determined to show it is a institution that can compete with established cultural centers in the West.

Inside preservation experts meticulously unwrapped artworks from protective packaging, inspecting each artifact and taking detailed documentation before positioning them on exhibition areas and plinths.

Specialists adjusted environmental controls. In the scientific facility, officers adjusted instruments meant to conserve ancient objects.

Funding and Economic Goals

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

"I hope us to have a significant economic benefit on communities around here," he explained to the press, adding that he aspired to make the city "a tourism center."

Mowaa, a non-profit Nigerian institution, aims at establishing more than 30,000 employment opportunities and adding more than $80m annually to the regional creative economy through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to get here – money gathered from various supporters, such as the European governments, the British Museum and the Edo state government.

But now the regional administration has pulled the rug from under it – terminating the utilization of the site on which the building was erected.

An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as EMOWAA – and it had subsequently removed "the state identifier" from its designation.

Protests and Political Intervention

This announcement followed protests on Sunday, when people invaded the complex insisting it be named the Benin Royal Museum.

A disruptive assembly harassed foreign guests at the venue prior to the opening – compelling them to be escorted out under official guard.

President Bola Tinubu has additionally intervened to attempt to settle the conflict, creating a presidential committee to manage the situation.

Political Complexities

But how has this evolved into so politicised – and such a reputation problem?

A great deal of it comes down to local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded last year – who was a key supporter of the initiative.

And it seems the government of the new governor, a close ally of the area king, called the royal figure, may seek more of a stake in the initiative. The protesters on the weekend, for instance, were calling for that the facility be put under the supervision of the royal leader.

The Cultural Artifacts Debate

This highlights the contentious issue of the Benin Bronzes, one of Africa's most renowned artistic heritage.

Because though the museum does finally welcome visitors, these bronzes will be clearly not present.

They are brass, elephant tusk and wooden sculptures that once decorated the royal palace of the Benin Kingdom before colonial troops looted them in 1897 during a military operation.

Today, numerous stay scattered across galleries in Europe and North America -- including the British Museum, German museum and the American museum.

Return Initiatives

Their repatriation has become one of the most debated discussions in the international art community. Approximately 150 have now made their way home – and additional are due to follow.

When ideas for the facility in Benin City were initially revealed in 2019, the influential figures on the country's cultural sector expected it would become their natural home – a modern facility to exhibit them to the world.

But the situation became complicated two years ago after the national authorities declared that the Oba would be the legal custodian of repatriated artifacts – and the royal household pushed for a museum under the monarch's supervision, contrary to the wishes of Obaseki.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a definite position on restitution while staying tactful on custodianship – and emphasising its larger purpose, which led to|c