Nigeria's stunning new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the time it was scheduled to – but was unable – to begin operations to the public for the initial occasion.
The Ambitious Project
The 15-acre campus stands in the center of Benin's urban center, capital of the southern region of Edo – and features an excavation site and facilities planned by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in the US capital in 2016.
It has been five years in the creation – and is designed to honor both the heritage and the present of cultural innovation in the region famous for the Benin Bronzes, cultural objects taken from the city's royal palace by British troops in the nineteenth century.
Setup and Prospects
It is remarkable – and prior to the scheduled opening, Mowaa was energetic with workers determined to prove it is a place that can match established art institutions in the Europe and America.
Internally conservators meticulously revealed art pieces from safety materials, checking each item and taking thorough records before placing them on display surfaces and plinths.
Experts fine-tuned temperature regulation systems. In the scientific facility, personnel calibrated devices designed to maintain ancient artefacts.
Financial Backing and Economic Vision
The project has been the brainchild of investor Phillip Ihenacho – currently Mowaa's chief executive.
"I want us to have a significant economic benefit on local residents in this region," he stated to the press, noting that he hoped to make this urban center "a cultural destination."
Mowaa, a non-profit national foundation, aims at creating more than 30,000 employment opportunities and adding over $80m per year to the regional creative economy through collaborations and events.
Funding Sources and Political Challenges
It has required $25m to reach this point – funds collected from different contributors, such as the European governments, the UK museum and the Edo state government.
But at present the regional administration has revoked permission from below it – terminating the utilization of the property on which the building was erected.
An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its designation.
Unrest and Official Response
This statement was preceded by demonstrations on the weekend, when people entered the complex insisting it be called the Museum of the Benin Kingdom.
A boisterous crowd confronted foreign guests at the facility ahead of the launch – compelling them to be quickly removed under security protection.
National leader Bola Tinubu has even stepped in to attempt to settle the conflict, establishing a special task force to address the controversy.
Governance Issues
But why has this turned into so politicised – and such a PR disaster?
A great deal of it results from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a key supporter of the museum.
And it looks like the government of the new governor, a key associate of the area king, known as the royal figure, may desire more of a stake in the initiative. The demonstrators on that day, for example, were calling for that the museum be positioned under the control of the current Oba.
The Historical Objects Discussion
This brings into focus the contentious issue of the Benin Bronzes, one of the region's most renowned artistic heritage.
Because though the museum does eventually welcome visitors, these artifacts will be clearly not present.
They are brass, elephant tusk and wooden artworks that once embellished the king's residence of the ancient kingdom before British soldiers stole them in the late nineteenth century during a military operation.
Currently, many continue to be scattered across institutions in Western nations -- including the British Museum, European center and the American museum.
Restitution Efforts
Their homecoming has become one of the most contested discussions in the worldwide cultural sector. Approximately 150 have presently come back – and further are expected to return.
When ideas for the institution in the urban center were initially revealed in recent years, the key players on the country's cultural sector anticipated it would become their ideal location – a state-of-the-art complex to show them off to the world.
But the situation became complicated some time back after the federal government announced that the traditional ruler would be the proper guardian of any returned bronzes – and the palace pushed for a institution under the royal family's direct control, against the wishes of the ex-leader.
Strategic Positioning
This placed Mowaa in a delicate position: expressing a clear stance on restitution while staying tactful on custodianship – and emphasising its wider mission, which led to|c
