Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the center of regional political struggles during the time it was scheduled to – but did not manage – to begin operations to the general public for the very first time.
The Ambitious Project
The six-hectare facility is located in the heart of Benin City, capital of the southern region of Edo – and contains an historical dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in Washington in 2016.
It has been 60 months in the making – and is envisioned to celebrate both the history and the present of creativity in the locale known for the Benin Bronzes, artworks looted from the city's royal palace by British troops in the 19th Century.
Setup and Prospects
It is notable – and before the planned opening, Mowaa was energetic with workers resolved to demonstrate it is a venue that can rival well-known cultural centers in the Europe and America.
Internally conservators meticulously opened art pieces from secure wrapping, checking each artifact and taking detailed notes before arranging them on display surfaces and bases.
Experts fine-tuned environmental controls. In the research lab, personnel adjusted equipment intended to maintain historical items.
Funding and Economic Goals
The project has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.
"I aim us to have a substantial financial effect on local residents in this region," he told the press, adding that he hoped to make Benin City "a cultural destination."
Mowaa, a non-profit national foundation, sees itself establishing over 30,000 employment opportunities and adding more than $80m annually to the regional creative economy through collaborations and activities.
Investment and Administrative Problems
It has needed $25m to reach this point – capital raised from various supporters, featuring the international partners, the British Museum and the regional authorities.
But now the regional administration has pulled the rug from under it – revoking the occupancy of the land on which the facility was constructed.
An official representative stated this was because in the initial documents it had identified as EMOWAA – and it had subsequently removed "Edo" from its name.
Unrest and Official Response
This announcement came after demonstrations on the weekend, when people entered the complex demanding it be called the Museum of the Benin Kingdom.
A disruptive group insulted overseas dignitaries at the venue prior to the launch – forcing them to be escorted out under police escort.
Head of state Bola Tinubu has even become involved to try and resolve the conflict, establishing a presidential committee to address the controversy.
Political Complexities
But in what way has this turned into so controversial – and such a reputation problem?
Much of it results from internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the museum.
And it appears the government of the recently elected official, a strong supporter of the regional monarch, known as the Oba, may seek increased control in the project. The activists on the weekend, for instance, were calling for that the facility be positioned under the supervision of the royal leader.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the historical artworks, one of the region's most celebrated artistic heritage.
Because though the institution does eventually begin operations, these objects will be clearly not present.
They are brass, elephant tusk and wooden sculptures that once adorned the royal palace of the ancient kingdom before UK forces looted them in 1897 during a punitive expedition.
Today, many remain scattered across institutions in Western nations -- including the London museum, European center and the American museum.
Repatriation Campaigns
Their repatriation has become one of the most debated debates in the international art community. Roughly 150 have now come back – and further are expected to return.
When ideas for the institution in Benin City were originally proposed in recent years, the key players on Nigeria's art scene hoped it would become their natural home – a state-of-the-art campus to show them off to the world.
But the situation became complicated recently after the central administration declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household pushed for a museum under the king's authority, opposing the preferences of Obaseki.
Strategic Positioning
This left Mowaa in a difficult situation: expressing a clear stance on repatriation while remaining diplomatic on ownership – and highlighting its broader vision, which led to|c
