The nation's impressive new Art Museum of West Africa (Mowaa) has landed in the middle of regional political struggles during the time it was scheduled to – but did not manage – to begin operations to the public for the very first time.
The Ambitious Project
The 15-acre campus stands in the core of Benin City, capital of the southern region of Edo – and includes an archaeological dig and facilities planned by renowned dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.
It has been 60 months in the development – and is designed to showcase both the history and the current era of artistic expression in the area famous for the cultural artifacts, cultural objects stolen from the king's palace by British troops in the 1800s.
Setup and Prospects
It is notable – and ahead of the anticipated opening, Mowaa was buzzing with workers resolved to prove it is a venue that can compete with established cultural centers in the West.
Internally conservators carefully unwrapped cultural items from safety materials, checking each item and taking meticulous records before placing them on walls and stands.
Experts calibrated environmental controls. In the materials science laboratory, personnel calibrated equipment intended to maintain ancient artefacts.
Financial Backing and Economic Vision
The venture has been the idea of investor Phillip Ihenacho – presently Mowaa's chief executive.
"I want us to have a major financial effect on communities around here," he told the press, mentioning that he hoped to make Benin City "an arts hub."
Mowaa, a non-profit local organization, aims at generating over 30,000 direct and indirect jobs and contributing over $80m annually to the area arts sector through collaborations and programming.
Funding Sources and Political Challenges
It has required $25m to achieve this stage – money collected from different donors, including the French and German governments, the British Museum and the Edo state government.
But now the local government has revoked permission from beneath it – terminating the use of the site on which the facility was constructed.
An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had since eliminated "Edo" from its designation.
Unrest and Official Response
This statement was preceded by rallies on Sunday, when people stormed the facility demanding it be called the Royal Benin Museum.
A boisterous group confronted foreign guests at the museum prior to the inauguration – compelling them to be escorted out under security protection.
Head of state Bola Tinubu has additionally intervened to try and resolve the tensions, creating a high-level committee to manage the situation.
Political Complexities
But why has this become so controversial – and such a reputation problem?
Much of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the museum.
And it appears the administration of the current leader, a close ally of the local traditional ruler, known as the royal figure, may desire more of a stake in the project. The activists on Sunday, for instance, were calling for that the institution be placed under the authority of the royal leader.
The Cultural Artifacts Debate
This highlights the controversial matter of the Benin Bronzes, one of Africa's most celebrated artistic heritage.
Because although the museum does eventually welcome visitors, these bronzes will be noticeably missing.
They are metal, ivory and wooden carvings that once decorated the royal palace of the ancient kingdom before colonial troops looted them in the colonial era during a colonial invasion.
Today, thousands remain scattered across museums in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the American museum.
Restitution Efforts
Their return has become one of the most contested conversations in the worldwide cultural sector. About 150 have presently been returned – and more are scheduled to be repatriated.
When plans for the museum in Benin City were initially revealed in recent years, the key players on the country's cultural sector anticipated it would become their perfect venue – a state-of-the-art complex to show them off to the world.
But the issues became confused recently after the national authorities declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace advocated for a facility under the monarch's supervision, contrary to the wishes of the former governor.
Political Navigation
This placed Mowaa in a challenging circumstance: maintaining a definite position on return while being careful on guardianship – and highlighting its broader vision, which led to|c
