🔗 Share this article

The nation's remarkable new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the week it was expected to – but did not manage – to begin operations to the general public for the first time.

The Major Initiative

The six-hectare complex is located in the heart of Benin City, capital of the southern region of Edo – and contains an excavation site and structures planned by high-profile dual heritage architect Sir David Adjaye, particularly noted 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 honor both the history and the current era of creativity in the locale known for the Benin Bronzes, historical pieces taken from the royal palace by British soldiers in the 1800s.

Readiness and Potential

It is impressive – and ahead of the scheduled opening, Mowaa was energetic with staff committed to prove it is a venue that can rival established cultural centers in the Western world.

Inside art restorers meticulously revealed artworks from safety materials, checking each piece and taking thorough documentation before positioning them on display surfaces and bases.

Experts fine-tuned climate control systems. In the scientific facility, personnel set up equipment intended to preserve historical artefacts.

Financial Backing and Economic Vision

The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a major economic impact on local residents in the vicinity," he told the press, adding that he aspired to make Benin City "an arts hub."

Mowaa, a not-for-profit Nigerian institution, envisions itself establishing more than 30,000 direct and indirect jobs and adding more than $80m annually to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to achieve this stage – capital collected from different supporters, featuring the international partners, the London institution and the local administration.

But at present the state authorities has revoked permission from beneath it – terminating the utilization of the land on which the museum was built.

An official representative stated this was because in the early agreements it had referred to itself as EMOWAA – and it had later eliminated "the regional name" from its title.

Demonstrations and Government Action

This statement followed protests on recently, when people entered the complex calling for it be called the Royal Benin Museum.

A disruptive group insulted foreign guests at the facility prior to the inauguration – requiring them to be quickly removed under security protection.

Head of state Bola Tinubu has even become involved to attempt to settle the tensions, creating a presidential committee to manage the situation.

Governance Issues

But why has this turned into so divisive – and such a PR disaster?

A great deal of it comes down to internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance finished last year – who was a major backer of the project.

And it seems the leadership of the recently elected official, a close ally of the area king, referred to as the traditional leader, may want greater involvement in the initiative. The protesters on Sunday, for case, were demanding that the facility be placed under the control of the royal leader.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of the continent's most famous historical legacy.

Because although the facility does finally welcome visitors, these artifacts will be clearly not present.

They are brass, ivory and wooden sculptures that once adorned the monarch's home of the Benin Kingdom before UK forces stole them in the colonial era during a punitive expedition.

Today, thousands remain scattered across institutions in the West -- featuring the London museum, German museum and the New York institution.

Repatriation Campaigns

Their return has become one of the most disputed conversations in the worldwide cultural sector. About 150 have now made their way home – and more are due to follow.

When proposals for the museum in Benin City were first announced in the pre-pandemic era, the key players on the country's cultural sector expected it would become their perfect venue – a modern campus to exhibit them to the global audience.

But the waters were muddied recently after the national authorities declared that the traditional ruler would be the rightful owner of any returned bronzes – and the palace pushed for a museum under the monarch's supervision, against the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: asserting a clear stance on repatriation while staying tactful on custodianship – and emphasising its wider mission, which led to|c