Nigeria's remarkable new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the time it was supposed to – but failed – to welcome visitors to the public for the first time.
The Ambitious Project
The large-scale campus is located in the core of Benin City, main city of the southern region of Edo – and contains an historical dig and facilities created by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.
It has been 60 months in the making – and is designed to celebrate both the history and the present of cultural innovation in the region famous for the Benin Bronzes, cultural objects stolen from the city's royal palace by UK forces in the 19th Century.
Setup and Prospects
It is remarkable – and prior to the planned opening, Mowaa was buzzing with staff committed to demonstrate it is a venue that can compete with well-known museums and galleries in the West.
Internally preservation experts precisely revealed cultural items from secure wrapping, examining each item and taking thorough documentation before arranging them on exhibition areas and stands.
Specialists fine-tuned temperature regulation systems. In the materials science laboratory, personnel set up devices intended to preserve ancient items.
Investment and Economic Plans
The venture has been the idea of investor Phillip Ihenacho – currently Mowaa's managing director.
"I aim us to have a major economic impact on communities around here," he stated to journalists, noting that he aspired to make Benin City "a cultural destination."
Mowaa, a not-for-profit national foundation, envisions itself generating more than 30,000 work positions and adding more than $80m annually to the local cultural industry through alliances and activities.
Funding Sources and Political Challenges
It has required $25m to achieve this stage – capital gathered from various donors, such as the European governments, the British Museum and the local administration.
But currently the regional administration has pulled the rug from below it – canceling the occupancy of the land on which the building was erected.
An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had since removed "the regional name" from its name.
Protests and Political Intervention
This statement followed demonstrations on Sunday, when activists stormed the campus demanding it be designated the Royal Benin Museum.
A boisterous group confronted international visitors at the museum ahead of the inauguration – requiring them to be hurried away under police escort.
Head of state Bola Tinubu has also intervened to attempt to settle the dispute, creating a presidential committee to address the controversy.
Administrative Challenges
But how has this evolved into so divisive – and such a reputation problem?
Much of it comes down to internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished last year – who was a major backer of the museum.
And it appears the leadership of the current leader, a key associate of the local traditional ruler, known as the Oba, may want increased control in the venture. The protesters on that day, for example, were insisting that the institution be placed under the supervision of the royal leader.
The Cultural Artifacts Debate
This emphasizes the disputed topic of the historical artworks, one of the continent's most celebrated historical legacy.
Because though the facility does finally open, these bronzes will be noticeably missing.
They are metal, ivory and timber sculptures that once adorned the king's residence of the historical empire before British soldiers looted them in the colonial era during a colonial invasion.
Today, thousands stay spread across institutions in Western nations -- such as the British Museum, German museum and the New York institution.
Return Initiatives
Their return has become one of the most contested discussions in the worldwide cultural sector. About 150 have presently been returned – and further are expected to return.
When proposals for the museum in the urban center were initially revealed in 2019, the influential figures on the country's cultural sector expected it would become their natural home – a state-of-the-art facility to exhibit them to the global audience.
But the waters were muddied recently after the national authorities announced that the Oba would be the rightful owner of any returned bronzes – and the royal household pushed for a institution under the royal family's direct control, contrary to the wishes of Obaseki.
Strategic Positioning
This placed Mowaa in a difficult situation: asserting a specific viewpoint on repatriation while being careful on ownership – and stressing its larger purpose, which led to|c