🔗 Share this article

The nation's remarkable new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of regional political struggles during the week it was supposed to – but was unable – to begin operations to the public for the initial occasion.

The Grand Vision

The large-scale complex is located in the core of Benin's urban center, capital of the southern area of Edo – and contains an archaeological dig and facilities planned by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been 60 months in the making – and is designed to showcase both the history and the present of cultural innovation in the locale renowned for the historic artworks, artworks taken from the royal palace by UK forces in the 1800s.

Setup and Prospects

It is notable – and before the scheduled opening, Mowaa was energetic with staff committed to demonstrate it is a venue that can compete with renowned museums and galleries in the Western world.

Inside conservators meticulously revealed artworks from secure wrapping, inspecting each item and taking detailed documentation before positioning them on exhibition areas and plinths.

Technicians calibrated environmental controls. In the scientific facility, personnel calibrated equipment meant to preserve centuries-old items.

Funding and Economic Goals

The initiative has been the idea of businessman Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a major economic benefit on area populations in the vicinity," he told the press, adding that he aspired to make this urban center "an arts hub."

Mowaa, a charitable Nigerian institution, aims at creating in excess of 30,000 employment opportunities and contributing above $80m per year to the regional creative economy through partnerships and programming.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – funds raised from multiple donors, such as the French and German governments, the London institution and the local administration.

But currently the state authorities has revoked permission from under it – canceling the use of the land on which the museum was built.

An Edo state spokesperson stated this was because in the early agreements it had called itself Edo Museum of West African Art – and it had later removed "Edo" from its title.

Demonstrations and Government Action

This statement was preceded by demonstrations on the weekend, when activists invaded the complex insisting it be designated the Benin Royal Museum.

A disruptive crowd harassed foreign guests at the venue ahead of the launch – requiring them to be quickly removed under police escort.

National leader Bola Tinubu has even become involved to attempt to settle the dispute, establishing a special task force to do some damage control.

Governance Issues

But why has this evolved into so divisive – and such a public relations crisis?

The majority of it comes down to local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office ended the previous year – who was a key supporter of the museum.

And it appears the leadership of the new governor, a key associate of the area king, referred to as the royal figure, may want increased control in the initiative. The protesters on Sunday, for instance, were calling for that the facility be put under the authority of the current Oba.

The Historical Objects Discussion

This highlights the contentious issue of the Benin Bronzes, one of the continent's most renowned artistic heritage.

Because even if the institution does finally welcome visitors, these objects will be conspicuously absent.

They are brass, elephant tusk and wooden sculptures that once embellished the royal palace of the historical empire before British soldiers stole them in the late nineteenth century during a colonial invasion.

Currently, thousands remain spread across museums in the West -- featuring the London museum, European center and the American museum.

Return Initiatives

Their return has become one of the most contested discussions in the international art community. Roughly 150 have presently come back – and additional are scheduled to be repatriated.

When ideas for the institution in Benin City were initially revealed in 2019, the key players on Nigeria's art scene hoped it would become their perfect venue – a advanced facility to show them off to the world.

But the waters were muddied some time back after the national authorities announced that the royal leader would be the legal custodian of repatriated artifacts – and the monarch's court pushed for a facility under the king's authority, opposing the desires of the former governor.

Strategic Positioning

This left Mowaa in a difficult situation: expressing a definite position on repatriation while staying tactful on custodianship – and emphasising its larger purpose, which led to|c