🔗 Share this article

The nation's stunning new West African Art Museum (Mowaa) has found itself in the center of local power politics during the time it was supposed to – but was unable – to open its doors to the general public for the first time.

The Ambitious Project

The 15-acre complex sits in the core of Benin's urban center, main city of the southern region of Edo – and features an historical dig and buildings created by celebrated dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the making – and is designed to honor both the heritage and the modern times of creativity in the locale known for the historic artworks, artworks looted from the royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and before the anticipated opening, Mowaa was active with staff committed to demonstrate it is a institution that can match established art institutions in the Europe and America.

Internally conservators meticulously revealed cultural items from protective packaging, examining each artifact and taking meticulous notes before placing them on exhibition areas and plinths.

Specialists adjusted temperature regulation systems. In the research lab, personnel calibrated instruments designed to preserve ancient objects.

Funding and Economic Goals

The venture has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I aim us to have a significant economic impact on area populations in the vicinity," he stated to media outlets, noting that he wanted to make this urban center "a cultural destination."

Mowaa, a non-profit Nigerian institution, aims at creating in excess of 30,000 employment opportunities and adding over $80m per year to the regional creative economy through collaborations and activities.

Funding Sources and Political Challenges

It has needed $25m to reach this point – money gathered from various supporters, such as the European governments, the London institution and the local administration.

But now the local government 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 early agreements it had referred to itself as EMOWAA – and it had subsequently dropped "the state identifier" from its designation.

Demonstrations and Government Action

This declaration followed demonstrations on recently, when people entered the facility insisting it be called the Museum of the Benin Kingdom.

A disruptive group insulted overseas dignitaries at the facility ahead of the inauguration – compelling them to be quickly removed under security protection.

Head of state Bola Tinubu has even become involved to try and resolve the dispute, setting up a high-level committee to do some damage control.

Governance Issues

But how has this turned into so divisive – and such a PR disaster?

Much of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office ended the previous year – who was a major backer of the initiative.

And it looks like the leadership of the new governor, a close ally of the local traditional ruler, called the traditional leader, may want more of a stake in the venture. The activists on that day, for instance, were demanding that the museum be positioned under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most famous artistic heritage.

Because even if the facility does ultimately begin operations, these artifacts will be clearly not present.

They are brass, ivory and wooden sculptures that once adorned the royal palace of the historical empire before colonial troops took them in 1897 during a military operation.

Today, many stay distributed across galleries in the West -- featuring the London museum, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most debated conversations in the international art community. About 150 have currently come back – and additional are expected to return.

When ideas for the facility in the city were originally proposed in 2019, the influential figures on the national arts community anticipated it would become their perfect venue – a advanced facility to exhibit them to the world.

But the situation became complicated recently after the national authorities announced that the traditional ruler would be the rightful owner of returned objects – and the palace campaigned for a museum under the monarch's supervision, against the desires of the ex-leader.

Strategic Positioning

This left Mowaa in a delicate position: expressing a clear stance on return while staying tactful on guardianship – and highlighting its larger purpose, which led to|c