🔗 Share this article

The nation's stunning new West African Art Museum (Mowaa) has landed in the middle of local power politics during the time it was expected to – but did not manage – to begin operations to the public for the initial occasion.

The Major Initiative

The six-hectare complex stands in the heart of Benin City, main city of the southern region of Edo – and contains an archaeological dig and facilities designed by renowned dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been half a decade in the making – and is designed to showcase both the heritage and the current era of creativity in the region renowned for the Benin Bronzes, historical pieces looted from the king's palace by British soldiers in the 19th Century.

Setup and Prospects

It is impressive – and prior to the anticipated opening, Mowaa was active with employees resolved to show it is a venue that can compete with established museums and galleries in the Western world.

Within preservation experts precisely opened artworks from safety materials, examining each item and taking meticulous notes before positioning them on walls and stands.

Experts adjusted temperature regulation systems. In the scientific facility, personnel adjusted devices meant to maintain ancient items.

Investment and Economic Plans

The venture has been the concept of businessman Phillip Ihenacho – now Mowaa's executive director.

"I hope us to have a significant economic impact on local residents in the vicinity," he told the press, adding that he aspired to make the city "an arts hub."

Mowaa, a charitable Nigerian institution, envisions itself establishing more than 30,000 employment opportunities and providing above $80m annually to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – money gathered from various donors, featuring the European governments, the UK museum and the local administration.

But currently the state authorities has revoked permission from beneath it – canceling the occupancy of the property on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had referred to itself as EMOWAA – and it had since dropped "the state identifier" from its designation.

Unrest and Official Response

This statement followed protests on Sunday, when activists stormed the complex insisting it be designated the Museum of the Benin Kingdom.

A boisterous group harassed foreign guests at the facility before the inauguration – requiring them to be hurried away under official guard.

National leader Bola Tinubu has also intervened to try and resolve the dispute, creating a high-level committee to manage the situation.

Administrative Challenges

But how has this turned into so politicised – and such a public relations crisis?

The majority of it stems from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a major backer of the project.

And it seems the government of the current leader, a strong supporter of the area king, called the Oba, may want increased control in the initiative. The protesters on the weekend, for instance, were insisting that the facility be put under the authority of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the controversial matter of the Benin Bronzes, one of the continent's most celebrated historical legacy.

Because even if the institution does finally begin operations, these objects will be clearly not present.

They are brass, ivory and wooden artworks that once embellished the monarch's home of the historical empire before British soldiers stole them in 1897 during a punitive expedition.

Nowadays, numerous stay scattered across institutions in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their homecoming has become one of the most contested conversations in the worldwide cultural sector. About 150 have presently been returned – and more are expected to return.

When ideas for the museum in the city were originally proposed in the pre-pandemic era, the movers and shakers on the country's cultural sector anticipated it would become their perfect venue – a modern complex to display them to the international community.

But the issues became confused some time back after the central administration stated that the Oba would be the rightful owner of any returned bronzes – and the palace pushed for a facility under the royal family's direct control, against the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a clear stance on restitution while being careful on ownership – and stressing its wider mission, which led to|c