The nation's remarkable new Art Museum of West Africa (Mowaa) has ended up in the middle of area political conflicts during the period it was expected to – but was unable – to open its doors to the visitors for the very first time.
The Grand Vision
The 15-acre campus stands in the heart of Benin City, main city of the southern region of Edo – and includes an historical dig and structures planned by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington DC in 2016.
It has been five years in the creation – and is designed to showcase both the heritage and the current era of cultural innovation in the area known for the Benin Bronzes, cultural objects stolen from the royal palace by UK forces in the 1800s.
Setup and Prospects
It is notable – and ahead of the scheduled opening, Mowaa was active with staff determined to show it is a venue that can compete with established art institutions in the West.
Inside preservation experts meticulously unwrapped cultural items from safety materials, inspecting each artifact and taking meticulous documentation before positioning them on walls and stands.
Specialists fine-tuned temperature regulation systems. In the materials science laboratory, officers set up instruments intended to conserve ancient items.
Financial Backing and Economic Vision
The initiative has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.
"I aim us to have a major financial effect on communities in the vicinity," he told journalists, adding that he aspired to make the city "a tourism center."
Mowaa, a not-for-profit local organization, sees itself creating in excess of 30,000 direct and indirect jobs and providing above $80m annually to the local cultural industry through collaborations and activities.
Financial Support and Government Issues
It has taken $25m to reach this point – money gathered from various contributors, such as the European governments, the London institution and the regional authorities.
But at present the local government has revoked permission from below it – terminating the occupancy of the site on which the museum was built.
An Edo state spokesperson explained this was because in the early agreements it had identified as EMOWAA – and it had since eliminated "the state identifier" from its designation.
Unrest and Official Response
This declaration was preceded by protests on Sunday, when activists stormed the complex calling for it be named the Museum of the Benin Kingdom.
A disruptive crowd confronted overseas dignitaries at the venue prior to the opening – compelling them to be hurried away under police escort.
President Bola Tinubu has also intervened to work to address the dispute, setting up a special task force to manage the situation.
Governance Issues
But in what way has this evolved into so controversial – and such a PR disaster?
Much of it stems from internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose governance finished recently – who was a key supporter of the initiative.
And it appears the administration of the new governor, a close ally of the local traditional ruler, known as the Oba, may desire more of a stake in the initiative. The protesters on Sunday, for example, were demanding that the museum be placed under the supervision of Oba Ewuare II.
The Benin Bronzes Controversy
This emphasizes the contentious issue of the cultural artifacts, one of the continent's most celebrated historical legacy.
Because though the museum does ultimately welcome visitors, these objects will be conspicuously absent.
They are metal, elephant tusk and wooden artworks that once decorated the king's residence of the Benin Kingdom before British soldiers stole them in 1897 during a colonial invasion.
Currently, many remain spread across galleries in Europe and North America -- featuring the UK institution, European center and the Metropolitan Museum of Art.
Return Initiatives
Their repatriation has become one of the most disputed debates in the international art community. Approximately 150 have presently made their way home – and additional are expected to return.
When ideas for the museum in Benin City were first announced in the pre-pandemic era, the movers and shakers on Nigeria's art scene expected it would become their perfect venue – a state-of-the-art facility to show them off to the global audience.
But the waters were muddied two years ago after the federal government announced that the Oba would be the legal custodian of repatriated artifacts – and the royal household campaigned for a museum under the royal family's direct control, contrary to the wishes of the former governor.
Strategic Positioning
This placed Mowaa in a delicate position: maintaining a specific viewpoint on restitution while staying tactful on ownership – and highlighting its larger purpose, which led to|c
