Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the week it was supposed to – but was unable – to welcome visitors to the general public for the initial occasion.
The Major Initiative
The 15-acre facility is located in the heart of Benin's urban center, main city of the southern state of Edo – and contains an archaeological dig and structures planned by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.
It has been five years in the creation – and is envisioned to showcase both the heritage and the current era of creativity in the area known for the cultural artifacts, historical pieces stolen from the royal palace by UK forces in the 1800s.
Preparation and Promise
It is notable – and ahead of the planned opening, Mowaa was energetic with staff committed to prove it is a institution that can match renowned museums and galleries in the West.
Internally conservators meticulously unwrapped artworks from secure wrapping, checking each artifact and taking meticulous documentation before positioning them on display surfaces and stands.
Specialists calibrated temperature regulation systems. In the materials science laboratory, personnel adjusted equipment designed to preserve ancient artefacts.
Investment and Economic Plans
The initiative has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.
"I hope us to have a significant economic benefit on communities in the vicinity," he stated to media outlets, mentioning that he aspired to make this urban center "a tourism center."
Mowaa, a not-for-profit local organization, aims at generating over 30,000 employment opportunities and adding more than $80m per year to the local cultural industry through collaborations and events.
Financial Support and Government Issues
It has taken $25m to achieve this stage – money collected from multiple supporters, such as the French and German governments, the London institution and the local administration.
But currently the local government has revoked permission from beneath it – terminating the occupancy of the property on which the building was erected.
An Edo state spokesperson stated 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 regional name" from its designation.
Demonstrations and Government Action
This announcement came after protests on Sunday, when activists stormed the complex insisting it be designated the Benin Royal Museum.
A boisterous group insulted international visitors at the museum before the launch – forcing them to be escorted out under official guard.
President Bola Tinubu has also become involved to try and resolve the dispute, creating a presidential committee to do some damage control.
Governance Issues
But how has this evolved into so divisive – and such a public relations crisis?
A great deal of it results from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a key supporter of the project.
And it appears the leadership of the new governor, a close ally of the area king, called the Oba, may want more of a stake in the initiative. The activists on that day, for instance, were demanding that the museum be positioned under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This highlights the disputed topic of the Benin Bronzes, one of Africa's most famous historical legacy.
Because although the facility does ultimately open, these bronzes will be noticeably missing.
They are metal, elephant tusk and timber carvings that once embellished the king's residence of the ancient kingdom before UK forces stole them in the colonial era during a punitive expedition.
Currently, thousands remain distributed across institutions in Europe and North America -- featuring the London museum, European center and the New York institution.
Return Initiatives
Their repatriation has become one of the most contested discussions in the worldwide cultural sector. About 150 have currently been returned – and more are scheduled to be repatriated.
When proposals for the facility in Benin City were originally proposed in recent years, the movers and shakers on the national arts community hoped it would become their natural home – a modern complex to display them to the world.
But the issues became confused two years ago after the national authorities stated that the royal leader would be the rightful owner of any returned bronzes – and the palace advocated for a institution under the royal family's direct control, against the preferences of the former governor.
Diplomatic Challenges
This left Mowaa in a difficult situation: maintaining a specific viewpoint on repatriation while being careful on guardianship – and emphasising its wider mission, which led to|c
