Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the period it was expected to – but was unable – to open its doors to the public for the first time.
The Major Initiative
The 15-acre campus sits in the center of Benin City, main city of the southern state of Edo – and contains an excavation site and facilities planned by renowned dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that opened in the US capital in 2016.
It has been half a decade in the creation – and is designed to showcase both the heritage and the modern times of creativity in the region famous for the cultural artifacts, artworks looted from the royal palace by British troops in the nineteenth century.
Setup and Prospects
It is remarkable – and before the scheduled opening, Mowaa was active with staff determined to prove it is a place that can rival well-known museums and galleries in the West.
Within art restorers carefully unwrapped artworks from secure wrapping, inspecting each artifact and taking meticulous documentation before positioning them on walls and stands.
Specialists calibrated temperature regulation systems. In the scientific facility, officers adjusted instruments intended to maintain ancient artefacts.
Financial Backing and Economic Vision
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's executive director.
"I aim us to have a substantial economic impact on local residents in the vicinity," he explained to the press, noting that he wanted to make Benin City "a tourism center."
Mowaa, a not-for-profit local organization, sees itself creating over 30,000 employment opportunities and contributing over $80m annually to the regional creative economy through alliances and activities.
Investment and Administrative Problems
It has taken $25m to reach this point – funds collected from different contributors, featuring the international partners, the London institution and the Edo state government.
But at present the state authorities has withdrawn support from beneath it – canceling the utilization of the property on which the building was erected.
An official representative clarified this was because in the initial documents it had identified as EMOWAA – and it had since eliminated "the regional name" from its name.
Unrest and Official Response
This declaration followed rallies on Sunday, when protesters stormed the campus insisting it be designated the Benin Royal Museum.
A rowdy assembly harassed overseas dignitaries at the museum ahead of the opening – compelling them to be escorted out under official guard.
Head of state Bola Tinubu has even become involved to attempt to settle the conflict, establishing a special task force to do some damage control.
Administrative Challenges
But how has this turned into so controversial – and such a PR disaster?
Much 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 ended last year – who was a key supporter of the project.
And it appears the administration of the current leader, a strong supporter of the regional monarch, called the royal figure, may seek increased control in the project. The activists on that day, for instance, were calling for that the museum be put under the control of the current Oba.
The Historical Objects Discussion
This brings into focus the contentious issue of the Benin Bronzes, one of the region's most famous historical legacy.
Because even if the institution does ultimately welcome visitors, these objects will be clearly not present.
They are metal, elephant tusk and wooden artworks that once embellished the monarch's home of the historical empire before British soldiers stole them in 1897 during a military operation.
Nowadays, many stay distributed across institutions in Western nations -- featuring the London museum, European center and the American museum.
Repatriation Campaigns
Their homecoming has become one of the most disputed discussions in the international art community. About 150 have now made their way home – and further are scheduled to be repatriated.
When proposals for the museum in the city were originally proposed in 2019, the key players on the country's cultural sector expected it would become their perfect venue – a state-of-the-art complex to display them to the world.
But the situation became complicated recently after the federal government stated that the Oba would be the legal custodian of returned objects – and the monarch's court campaigned for a institution under the king's authority, against the preferences of the former governor.
Strategic Positioning
This left Mowaa in a challenging circumstance: maintaining a specific viewpoint on repatriation while staying tactful on custodianship – and stressing its wider mission, which led to|c
