🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has found itself in the middle of area political conflicts during the week it was expected to – but was unable – to welcome visitors to the public for the initial occasion.

The Major Initiative

The 15-acre campus sits in the core of Benin's urban center, administrative center of the southern region of Edo – and includes an historical dig and facilities designed by celebrated dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been 60 months in the making – and is envisioned to honor both the heritage and the present of creativity in the area renowned for the historic artworks, cultural objects looted from the king's palace by British soldiers in the nineteenth century.

Readiness and Potential

It is notable – and ahead of the planned opening, Mowaa was active with workers resolved to prove it is a venue that can rival well-known cultural centers in the Europe and America.

Internally preservation experts meticulously unwrapped artworks from secure wrapping, examining each artifact and taking thorough notes before positioning them on display surfaces and plinths.

Technicians adjusted environmental controls. In the scientific facility, officers adjusted equipment designed to preserve ancient objects.

Financial Backing and Economic Vision

The project has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.

"I want us to have a significant financial effect on local residents around here," he told journalists, adding that he wanted to make Benin City "a tourism center."

Mowaa, a not-for-profit Nigerian institution, aims at generating over 30,000 direct and indirect jobs and providing above $80m each year to the regional creative economy through collaborations and events.

Investment and Administrative Problems

It has taken $25m to reach this point – capital raised from multiple supporters, such as the French and German governments, the UK museum and the local administration.

But at present the local government has withdrawn support from under it – canceling the use of the site on which the building was erected.

An Edo state spokesperson explained this was because in the original paperwork it had referred to itself as EMOWAA – and it had since dropped "the state identifier" from its designation.

Demonstrations and Government Action

This announcement came after protests on recently, when activists invaded the facility calling for it be designated the Benin Royal Museum.

A disruptive assembly confronted overseas dignitaries at the facility before the inauguration – forcing them to be quickly removed under official guard.

President Bola Tinubu has also become involved to work to address the tensions, setting up a high-level committee to address the controversy.

Governance Issues

But how has this turned into so controversial – and such a reputation problem?

Much of it results from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration finished recently – who was a key supporter of the initiative.

And it looks like the administration of the current leader, a close ally of the regional monarch, called the Oba, may want more of a stake in the project. The demonstrators on Sunday, for instance, were calling for that the institution be put under the control of the royal leader.

The Historical Objects Discussion

This emphasizes the disputed topic of the Benin Bronzes, one of the region's most celebrated artistic heritage.

Because though the institution does finally begin operations, these bronzes will be clearly not present.

They are brass, ivory and wooden carvings that once adorned the royal palace of the historical empire before British soldiers took them in the colonial era during a colonial invasion.

Currently, numerous remain scattered across institutions in the West -- such as the UK institution, European center and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated debates in the international art community. About 150 have currently been returned – and more are due to follow.

When plans for the institution in the urban center were initially revealed in the pre-pandemic era, the key players on the national arts community expected it would become their perfect venue – a state-of-the-art facility to exhibit them to the global audience.

But the issues became confused recently after the central administration declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace pushed for a facility under the monarch's supervision, opposing the wishes of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: maintaining a specific viewpoint on return while being careful on guardianship – and highlighting its larger purpose, which led to|c