Nigeria's impressive new West African Art Museum (Mowaa) has landed in the center of local power politics during the week it was expected to – but was unable – to welcome visitors to the general public for the initial occasion.
The Ambitious Project
The large-scale complex sits in the center of the Edo state capital, administrative center of the southern state of Edo – and includes an archaeological dig and facilities created by celebrated dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington in 2016.
It has been five years in the making – and is planned to honor both the heritage and the modern times of creativity in the locale known for the historic artworks, artworks taken from the city's royal palace by British troops in the 19th Century.
Setup and Prospects
It is notable – and ahead of the anticipated opening, Mowaa was buzzing with employees resolved to demonstrate it is a institution that can compete with established museums and galleries in the West.
Within conservators meticulously opened art pieces from protective packaging, checking each item and taking meticulous documentation before arranging them on walls and plinths.
Technicians calibrated temperature regulation systems. In the materials science laboratory, staff members set up devices intended to maintain centuries-old artefacts.
Funding and Economic Goals
The initiative has been the concept of businessman Phillip Ihenacho – now Mowaa's chief executive.
"I aim us to have a substantial economic benefit on communities in this region," he explained to the press, adding that he hoped to make Benin City "a tourism center."
Mowaa, a non-profit Nigerian institution, aims at generating over 30,000 work positions and providing above $80m annually to the area arts sector through partnerships and programming.
Investment and Administrative Problems
It has needed $25m to achieve this stage – funds raised from different contributors, including the European governments, the London institution and the Edo state government.
But now the local government has pulled the rug from under it – canceling the utilization of the land on which the facility was constructed.
An government communicator clarified this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently removed "Edo" from its title.
Unrest and Official Response
This announcement was preceded by protests on recently, when protesters invaded the campus demanding it be called the Museum of the Benin Kingdom.
A rowdy crowd harassed foreign guests at the facility before the opening – forcing them to be quickly removed under official guard.
Head of state Bola Tinubu has also become involved to try and resolve the tensions, creating a high-level committee to do some damage control.
Governance Issues
But how has this become so controversial – and such a public relations crisis?
The majority of it stems from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a primary advocate of the initiative.
And it seems the leadership of the new governor, a key associate of the local traditional ruler, known as the Oba, may desire greater involvement in the project. The protesters on the weekend, for instance, were insisting that the museum be positioned under the authority of the royal leader.
The Benin Bronzes Controversy
This emphasizes the contentious issue of the historical artworks, one of Africa's most celebrated cultural treasures.
Because although the museum does eventually open, these objects will be clearly not present.
They are metal, elephant tusk and wooden carvings that once embellished the royal palace of the Benin Kingdom before UK forces took them in the late nineteenth century during a colonial invasion.
Today, many remain distributed across museums in Western nations -- featuring the London museum, European center and the New York institution.
Return Initiatives
Their return has become one of the most disputed debates in the global art world. About 150 have now been returned – and more are scheduled to be repatriated.
When ideas for the museum in Benin City were first announced in the pre-pandemic era, the influential figures on the national arts community expected it would become their natural home – a modern facility to show them off to the global audience.
But the issues became confused some time back after the federal government stated that the Oba would be the proper guardian of any returned bronzes – and the monarch's court advocated for a institution under the royal family's direct control, contrary to the preferences of the former governor.
Political Navigation
This left Mowaa in a delicate position: asserting a clear stance on return while staying tactful on ownership – and emphasising its broader vision, which led to|c
