🔗 Share this article

Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the time it was scheduled to – but failed – to open its doors to the visitors for the very first time.

The Major Initiative

The six-hectare complex stands in the center of the Edo state capital, main city of the southern region of Edo – and features an historical dig and facilities planned by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been 60 months in the making – and is envisioned to celebrate both the heritage and the current era of creativity in the area famous for the cultural artifacts, cultural objects taken from the city's royal palace by UK forces in the nineteenth century.

Preparation and Promise

It is notable – and prior to the anticipated opening, Mowaa was active with workers resolved to show it is a venue that can match well-known art institutions in the West.

Inside preservation experts precisely unwrapped art pieces from safety materials, examining each item and taking meticulous documentation before placing them on walls and bases.

Technicians adjusted climate control systems. In the research lab, staff members calibrated devices intended to conserve historical artefacts.

Investment and Economic Plans

The initiative has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a substantial economic benefit on local residents in the vicinity," he explained to the press, mentioning that he hoped to make the city "an arts hub."

Mowaa, a not-for-profit local organization, sees itself establishing over 30,000 direct and indirect jobs and providing over $80m per year to the regional creative economy through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds collected from different donors, featuring the European governments, the British Museum and the regional authorities.

But now the regional administration has withdrawn support from under it – terminating the occupancy of the land on which the building was erected.

An government communicator clarified this was because in the original paperwork it had identified as EMOWAA – and it had later removed "Edo" from its name.

Demonstrations and Government Action

This declaration followed rallies on the weekend, when people invaded the facility demanding it be designated the Benin Royal Museum.

A boisterous assembly harassed international visitors at the facility before the opening – requiring them to be escorted out under official guard.

Head of state Bola Tinubu has also intervened to work to address the conflict, setting up a presidential committee to address the controversy.

Administrative Challenges

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

The majority of it comes down to local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance ended the previous year – who was a major backer of the initiative.

And it seems the administration of the new governor, a key associate of the regional monarch, known as the traditional leader, may desire greater involvement in the initiative. The activists on the weekend, for case, were demanding that the facility be placed under the supervision of the royal leader.

The Historical Objects Discussion

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

Because though the museum does ultimately begin operations, these bronzes will be conspicuously absent.

They are brass, elephant tusk and timber sculptures that once embellished the king's residence of the Benin Kingdom before British soldiers looted them in 1897 during a punitive expedition.

Currently, numerous remain distributed across galleries in Western nations -- including the London museum, Berlin's Humboldt Forum and the American museum.

Repatriation Campaigns

Their homecoming has become one of the most debated debates in the global art world. About 150 have presently made their way home – and additional are expected to return.

When proposals for the institution in Benin City were first announced in the pre-pandemic era, the influential figures on the national arts community expected it would become their ideal location – a modern complex to show them off to the global audience.

But the situation became complicated two years ago after the federal government declared that the royal leader would be the proper guardian of repatriated artifacts – and the royal household pushed for a museum under the king's authority, contrary to the desires of Obaseki.

Strategic Positioning

This left Mowaa in a difficult situation: expressing a clear stance on repatriation while being careful on ownership – and stressing its wider mission, which led to|c