The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the crosshairs of regional political struggles during the period it was expected to – but was unable – to open its doors to the public for the first time.
The Ambitious Project
The large-scale campus stands in the center of Benin City, main city of the southern state of Edo – and includes an excavation site and facilities designed by high-profile dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.
It has been half a decade in the creation – and is planned to showcase both the history and the modern times of creativity in the area known for the historic artworks, historical pieces stolen from the royal palace by British troops in the 19th Century.
Readiness and Potential
It is remarkable – and before the anticipated opening, Mowaa was active with workers resolved to show it is a institution that can compete with renowned museums and galleries in the West.
Internally preservation experts carefully opened art pieces from safety materials, checking each item and taking detailed records before placing them on display surfaces and plinths.
Experts fine-tuned temperature regulation systems. In the scientific facility, personnel set up devices meant to preserve centuries-old artefacts.
Funding and Economic Goals
The venture has been the concept of investor Phillip Ihenacho – currently Mowaa's managing director.
"I want us to have a major financial effect on local residents in this region," he explained to the press, adding that he aspired to make the city "an arts hub."
Mowaa, a non-profit national foundation, envisions itself establishing in excess of 30,000 employment opportunities and providing over $80m per year to the area arts sector through collaborations and events.
Funding Sources and Political Challenges
It has taken $25m to achieve this stage – funds gathered from different donors, featuring the European governments, the London institution and the regional authorities.
But at present the state authorities has pulled the rug from below it – terminating the occupancy of the land on which the museum was built.
An official representative clarified this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had later dropped "the state identifier" from its name.
Protests and Political Intervention
This announcement followed demonstrations on Sunday, when protesters invaded the facility calling for it be named the Royal Benin Museum.
A disruptive crowd confronted overseas dignitaries at the museum prior to the opening – forcing them to be escorted out under police escort.
Head of state Bola Tinubu has also intervened to try and resolve the conflict, establishing a presidential committee to address the controversy.
Political Complexities
But how has this evolved into so controversial – and such a public relations crisis?
Much of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded last year – who was a key supporter of the project.
And it appears the administration of the current leader, a close ally of the regional monarch, called the royal figure, may desire more of a stake in the initiative. The protesters on the weekend, for example, were calling for that the institution be put under the authority of the current Oba.
The Historical Objects Discussion
This highlights the contentious issue of the Benin Bronzes, one of the region's most renowned historical legacy.
Because although the institution does eventually begin operations, these objects will be noticeably missing.
They are metal, elephant tusk and wooden sculptures that once embellished the king's residence of the ancient kingdom before UK forces stole them in the colonial era during a military operation.
Currently, numerous remain distributed across institutions in Europe and North America -- including the London museum, Berlin's Humboldt Forum and the New York institution.
Return Initiatives
Their return has become one of the most contested discussions in the international art community. About 150 have currently come back – and further are expected to return.
When ideas for the institution in Benin City were first announced in the pre-pandemic era, the movers and shakers on Nigeria's art scene anticipated it would become their ideal location – a modern complex to display them to the global audience.
But the situation became complicated some time back after the national authorities announced that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household advocated for a museum under the king's authority, opposing the desires of the ex-leader.
Diplomatic Challenges
This placed Mowaa in a challenging circumstance: maintaining a clear stance on repatriation while being careful on guardianship – and emphasising its broader vision, which led to|c
