🔗 Share this article

The nation's impressive new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but failed – to open its doors to the visitors for the very first time.

The Major Initiative

The 15-acre campus is located in the heart of Benin City, capital of the southern area of Edo – and features an excavation site and structures designed by renowned Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that opened in the US capital in 2016.

It has been 60 months in the creation – and is planned to showcase both the history and the current era of creativity in the region famous for the cultural artifacts, historical pieces stolen from the king's palace by British troops in the 19th Century.

Preparation and Promise

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with employees committed to demonstrate it is a venue that can match renowned museums and galleries in the West.

Within conservators meticulously opened art pieces from secure wrapping, checking each artifact and taking meticulous notes before arranging them on walls and bases.

Experts calibrated climate control systems. In the scientific facility, officers calibrated devices intended to conserve historical objects.

Funding and Economic Goals

The initiative has been the concept of investor Phillip Ihenacho – presently Mowaa's managing director.

"I want us to have a major economic impact on communities in the vicinity," he explained to journalists, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a charitable national foundation, envisions itself creating more than 30,000 employment opportunities and adding more than $80m per year to the area arts sector through alliances and events.

Financial Support and Government Issues

It has needed $25m to reach this point – capital gathered from multiple donors, featuring the French and German governments, the British Museum and the local administration.

But currently the regional administration has revoked permission from beneath it – terminating the use of the site on which the museum was built.

An official representative explained this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently dropped "Edo" from its designation.

Demonstrations and Government Action

This declaration followed demonstrations on Sunday, when protesters stormed the campus calling for it be named the Museum of the Benin Kingdom.

A boisterous crowd harassed overseas dignitaries at the museum ahead of the inauguration – requiring them to be quickly removed under official guard.

Head of state Bola Tinubu has also become involved to attempt to settle the dispute, setting up a high-level committee to address the controversy.

Political Complexities

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

Much of it results from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished recently – who was a major backer of the initiative.

And it appears the leadership of the current leader, a strong supporter of the regional monarch, known as the Oba, may want increased control in the initiative. The activists on the weekend, for example, were insisting that the institution be placed under the supervision of the current Oba.

The Historical Objects Discussion

This brings into focus the controversial matter of the cultural artifacts, one of Africa's most celebrated historical legacy.

Because though the institution does finally welcome visitors, these artifacts will be clearly not present.

They are metal, elephant tusk and wooden carvings that once embellished the royal palace of the Benin Kingdom before British soldiers took them in the colonial era during a military operation.

Currently, numerous continue to be scattered across museums in the West -- such as the London museum, European center and the New York institution.

Return Initiatives

Their repatriation has become one of the most contested discussions in the global art world. About 150 have now been returned – and more are due to follow.

When plans for the facility in Benin City were originally proposed in 2019, the movers and shakers on the country's cultural sector anticipated it would become their ideal location – a modern campus to show them off to the world.

But the issues became confused some time back after the national authorities declared that the traditional ruler would be the rightful owner of any returned bronzes – and the palace pushed for a facility under the monarch's supervision, contrary to the preferences of Obaseki.

Political Navigation

This placed Mowaa in a delicate position: expressing a clear stance on repatriation while remaining diplomatic on guardianship – and highlighting its wider mission, which led to|c