🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but did not manage – to begin operations to the general public for the first time.

The Major Initiative

The large-scale complex is located in the core of Benin's urban center, administrative center of the southern state of Edo – and contains an excavation site and buildings created by renowned dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been half a decade in the making – and is designed to showcase both the past and the current era of cultural innovation in the locale known for the historic artworks, artworks looted from the city's royal palace by British troops in the nineteenth century.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was energetic with workers resolved to show it is a institution that can compete with renowned art institutions in the Europe and America.

Within preservation experts carefully revealed artworks from secure wrapping, inspecting each item and taking thorough documentation before placing them on walls and plinths.

Technicians adjusted temperature regulation systems. In the research lab, personnel adjusted instruments intended to maintain centuries-old artefacts.

Financial Backing and Economic Vision

The initiative has been the idea of investor Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a significant economic benefit on local residents around here," he explained to the press, noting that he aspired to make this urban center "a tourism center."

Mowaa, a charitable Nigerian institution, sees itself creating more than 30,000 employment opportunities and adding above $80m per year to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to get here – money collected from multiple donors, including the international partners, the UK museum and the regional authorities.

But currently the local government has pulled the rug from beneath it – revoking the utilization of the property on which the museum was built.

An Edo state spokesperson explained this was because in the early agreements it had identified as the Edo-named institution – and it had later dropped "the state identifier" from its name.

Unrest and Official Response

This announcement was preceded by rallies on recently, when protesters invaded the facility demanding it be called the Benin Royal Museum.

A disruptive assembly harassed international visitors at the museum prior to the opening – forcing them to be quickly removed under police escort.

Head of state Bola Tinubu has also stepped in to try and resolve the conflict, setting up a special task force to address the controversy.

Administrative Challenges

But why has this evolved into so controversial – and such a PR disaster?

A great deal of it results from local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose governance ended recently – who was a key supporter of the museum.

And it appears the leadership of the new governor, a strong supporter of the area king, referred to as the royal figure, may seek increased control in the venture. The demonstrators on that day, for instance, were calling for that the museum be placed under the supervision of the current Oba.

The Historical Objects Discussion

This brings into focus the disputed topic of the historical artworks, one of Africa's most renowned historical legacy.

Because even if the facility does ultimately open, these objects will be clearly not present.

They are brass, elephant tusk and timber carvings that once decorated the king's residence of the Benin Kingdom before colonial troops looted them in 1897 during a military operation.

Nowadays, numerous stay spread across museums in the West -- featuring the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most disputed discussions in the international art community. About 150 have presently been returned – and further are due to follow.

When plans for the institution in the city were initially revealed 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 exhibit them to the international community.

But the situation became complicated two years ago after the national authorities declared that the Oba would be the legal custodian of any returned bronzes – and the royal household pushed for a institution under the royal family's direct control, opposing the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: expressing a specific viewpoint on restitution while staying tactful on ownership – and emphasising its broader vision, which led to|c