Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the center of local power politics during the period it was expected to – but failed – to open its doors to the public for the very first time.
The Ambitious Project
The large-scale complex is located in the heart of Benin's urban center, administrative center of the southern state of Edo – and features an archaeological dig and buildings planned by high-profile British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington in 2016.
It has been 60 months in the making – and is planned to honor both the past and the present of creativity in the locale renowned for the Benin Bronzes, cultural objects stolen from the royal palace by UK forces in the 1800s.
Readiness and Potential
It is remarkable – and prior to the scheduled opening, Mowaa was energetic with staff determined to prove it is a place that can match established art institutions in the West.
Within conservators meticulously revealed art pieces from protective packaging, examining each item and taking meticulous documentation before positioning them on exhibition areas and plinths.
Specialists adjusted temperature regulation systems. In the scientific facility, personnel calibrated instruments designed to conserve ancient artefacts.
Financial Backing and Economic Vision
The project has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.
"I hope us to have a substantial financial effect on communities in this region," he explained to the press, adding that he hoped to make the city "an arts hub."
Mowaa, a not-for-profit local organization, envisions itself creating over 30,000 direct and indirect jobs and providing over $80m annually to the local cultural industry through alliances and events.
Funding Sources and Political Challenges
It has required $25m to get here – money raised from multiple donors, featuring the European governments, the UK museum and the local administration.
But now the regional administration has withdrawn support from beneath it – revoking the use of the site on which the museum was built.
An Edo state spokesperson stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had since dropped "Edo" from its name.
Unrest and Official Response
This announcement came after rallies on recently, when protesters entered the campus insisting it be designated the Benin Royal Museum.
A rowdy group harassed foreign guests at the venue ahead of the inauguration – compelling them to be quickly removed under official guard.
National leader Bola Tinubu has also stepped in to attempt to settle the dispute, creating a special task force to do some damage control.
Administrative Challenges
But why has this become so divisive – and such a reputation problem?
Much of it stems from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose governance ended last year – who was a key supporter of the project.
And it looks like the administration of the new governor, a close ally of the area king, called the traditional leader, may desire more of a stake in the initiative. The protesters on the weekend, for example, were demanding that the facility be placed under the authority of the royal leader.
The Cultural Artifacts Debate
This brings into focus the disputed topic of the Benin Bronzes, one of the region's most celebrated artistic heritage.
Because although the institution does ultimately welcome visitors, these objects will be clearly not present.
They are metal, ivory and wooden carvings that once embellished the king's residence of the Benin Kingdom before British soldiers looted them in the colonial era during a punitive expedition.
Currently, many remain spread across museums in the West -- featuring the UK institution, German museum and the New York institution.
Repatriation Campaigns
Their homecoming has become one of the most debated discussions in the global art world. About 150 have presently come back – and additional are scheduled to be repatriated.
When plans for the museum in Benin City were initially revealed in recent years, the movers and shakers on the country's cultural sector hoped it would become their natural home – a state-of-the-art facility to show them off to the global audience.
But the issues became confused recently after the federal government announced that the Oba would be the rightful owner of any returned bronzes – and the royal household pushed for a museum under the monarch's supervision, against the wishes of the ex-leader.
Diplomatic Challenges
This left Mowaa in a difficult situation: expressing a specific viewpoint on restitution while staying tactful on custodianship – and highlighting its larger purpose, which led to|c
