🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has landed in the middle of area political conflicts during the period it was expected to – but did not manage – to open its doors to the general public for the initial occasion.

The Ambitious Project

The 15-acre campus sits in the center of Benin City, capital of the southern area of Edo – and contains an historical dig and structures planned by renowned dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been five years in the development – and is envisioned to celebrate both the past and the present of artistic expression in the area known for the historic artworks, cultural objects looted from the city's royal palace by British soldiers in the nineteenth century.

Preparation and Promise

It is notable – and prior to the scheduled opening, Mowaa was energetic with staff committed to show it is a institution that can compete with renowned museums and galleries in the West.

Inside art restorers carefully revealed art pieces from protective packaging, examining each artifact and taking detailed notes before placing them on walls and plinths.

Specialists fine-tuned temperature regulation systems. In the materials science laboratory, personnel set up instruments designed to preserve ancient artefacts.

Investment and Economic Plans

The project has been the brainchild of investor Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a major financial effect on area populations in this region," he told the press, mentioning that he wanted to make this urban center "a tourism center."

Mowaa, a charitable local organization, sees itself creating in excess of 30,000 work positions and contributing above $80m per year to the local cultural industry through partnerships and events.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – money gathered from various contributors, including the international partners, the British Museum and the local administration.

But currently the local government has withdrawn support from under it – terminating the utilization of the site on which the building was erected.

An official representative stated this was because in the early agreements it had identified as EMOWAA – and it had subsequently eliminated "the state identifier" from its title.

Demonstrations and Government Action

This announcement came after demonstrations on Sunday, when people invaded the facility insisting it be named the Benin Royal Museum.

A rowdy group insulted foreign guests at the museum prior to the opening – compelling them to be escorted out under security protection.

President Bola Tinubu has additionally intervened to work to address the tensions, creating a special task force to address the controversy.

Governance Issues

But how has this become so politicised – and such a reputation problem?

A great deal of it results from 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 primary advocate of the project.

And it seems the government of the new governor, a key associate of the regional monarch, known as the Oba, may desire more of a stake in the project. The activists on Sunday, for example, were calling for that the facility be positioned under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of Africa's most celebrated artistic heritage.

Because though the museum does finally open, these artifacts will be noticeably missing.

They are brass, ivory and timber artworks that once adorned the king's residence of the ancient kingdom before colonial troops looted them in the colonial era during a colonial invasion.

Currently, many continue to be spread across galleries in Europe and North America -- featuring the London museum, German museum and the American museum.

Return Initiatives

Their repatriation has become one of the most debated discussions in the global art world. About 150 have presently come back – and more are expected to return.

When proposals for the institution in the city were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art complex to show them off to the international community.

But the waters were muddied recently after the central administration announced that the royal leader would be the legal custodian of repatriated artifacts – and the royal household advocated for a facility under the royal family's direct control, contrary to the preferences of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a clear stance on return while staying tactful on custodianship – and stressing its wider mission, which led to|c