🔗 Share this article

Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the center of local power politics during the period it was expected to – but was unable – to open its doors to the public for the initial occasion.

The Ambitious Project

The 15-acre campus sits in the center of Benin's urban center, capital of the southern state of Edo – and includes an historical dig and structures created by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been five years in the development – and is envisioned to showcase both the heritage and the current era of artistic expression in the area known for the Benin Bronzes, historical pieces stolen from the royal palace by UK forces in the 19th Century.

Readiness and Potential

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with workers determined to show it is a venue that can rival well-known museums and galleries in the West.

Within art restorers precisely unwrapped artworks from protective packaging, inspecting each artifact and taking thorough notes before positioning them on display surfaces and bases.

Specialists adjusted climate control systems. In the research lab, officers set up instruments meant to conserve ancient artefacts.

Funding and Economic Goals

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

"I hope us to have a significant financial effect on communities in the vicinity," he stated to the press, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a non-profit national foundation, sees itself generating more than 30,000 employment opportunities and contributing above $80m each year to the area arts sector through alliances and programming.

Financial Support and Government Issues

It has needed $25m to get here – capital gathered from multiple contributors, featuring the international partners, the London institution and the regional authorities.

But at present the state authorities has revoked permission from below it – terminating the use of the land on which the facility was constructed.

An government communicator explained this was because in the initial documents it had identified as the Edo-named institution – and it had later eliminated "the state identifier" from its designation.

Protests and Political Intervention

This announcement came after demonstrations on the weekend, when activists invaded the facility demanding it be designated the Benin Royal Museum.

A disruptive crowd confronted foreign guests at the venue ahead of the launch – forcing them to be quickly removed under security protection.

Head of state Bola Tinubu has even stepped in to work to address the conflict, creating a presidential committee to do some damage control.

Political Complexities

But how has this evolved into so divisive – and such a reputation problem?

Much of it results from internecine rivalries at a local state level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the project.

And it seems the government of the current leader, a key associate of the local traditional ruler, called the Oba, may want greater involvement in the project. The activists on that day, for instance, were demanding that the institution be put under the supervision of the current Oba.

The Cultural Artifacts Debate

This highlights the disputed topic of the cultural artifacts, one of the region's most renowned cultural treasures.

Because even if the institution does ultimately begin operations, these artifacts will be conspicuously absent.

They are brass, ivory and wooden carvings that once embellished the monarch's home of the Benin Kingdom before British soldiers stole them in the colonial era during a military operation.

Today, many continue to be scattered across galleries in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their repatriation has become one of the most contested debates in the worldwide cultural sector. About 150 have now been returned – and additional are scheduled to be repatriated.

When ideas for the institution in the city were initially revealed in recent years, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a advanced campus to show them off to the global audience.

But the situation became complicated two years ago after the central administration stated that the royal leader would be the rightful owner of any returned bronzes – and the monarch's court advocated for a facility under the royal family's direct control, opposing the desires of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: maintaining a definite position on return while staying tactful on custodianship – and stressing its broader vision, which led to|c