🔗 Share this article

Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the center of area political conflicts during the time it was scheduled to – but did not manage – to open its doors to the public for the very first time.

The Major Initiative

The large-scale complex is located in the heart of the Edo state capital, main city of the southern region of Edo – and contains an archaeological dig and structures designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in the US capital in 2016.

It has been half a decade in the development – and is envisioned to honor both the past and the modern times of creativity in the region famous for the Benin Bronzes, artworks stolen from the king's palace by UK forces in the 1800s.

Preparation and Promise

It is notable – and before the scheduled opening, Mowaa was buzzing with workers resolved to demonstrate it is a place that can compete with well-known cultural centers in the West.

Inside preservation experts precisely opened artworks from safety materials, checking each piece and taking meticulous notes before placing them on walls and bases.

Specialists calibrated temperature regulation systems. In the scientific facility, personnel set up devices intended to maintain historical objects.

Investment and Economic Plans

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

"I hope us to have a substantial economic impact on communities around here," he stated to journalists, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit national foundation, sees itself generating over 30,000 employment opportunities and contributing over $80m each year to the area arts sector through alliances and activities.

Funding Sources and Political Challenges

It has needed $25m to reach this point – funds collected from multiple donors, featuring the European governments, the British Museum and the Edo state government.

But currently the regional administration has withdrawn support from under it – canceling the use of the site on which the museum was built.

An government communicator stated this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had since eliminated "the regional name" from its name.

Protests and Political Intervention

This announcement followed rallies on Sunday, when activists entered the complex calling for it be called the Benin Royal Museum.

A rowdy crowd harassed overseas dignitaries at the venue before the inauguration – requiring them to be hurried away under security protection.

President Bola Tinubu has even intervened to work to address the dispute, setting up a special task force to do some damage control.

Administrative Challenges

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

Much of it results from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the museum.

And it appears the administration of the new governor, a key associate of the regional monarch, called the traditional leader, may desire increased control in the project. The protesters on that day, for example, were calling for that the facility be placed under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of the continent's most famous cultural treasures.

Because even if the museum does finally begin operations, these bronzes will be clearly not present.

They are metal, elephant tusk and wooden carvings that once adorned the king's residence of the historical empire before British soldiers stole them in 1897 during a punitive expedition.

Nowadays, many remain distributed across galleries in Europe and North America -- including the London museum, German museum and the American museum.

Return Initiatives

Their repatriation has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have now come back – and more are expected to return.

When proposals for the institution in Benin City were first announced in the pre-pandemic era, the movers and shakers on the national arts community anticipated it would become their natural home – a state-of-the-art campus to show them off to the global audience.

But the waters were muddied recently after the national authorities declared that the Oba would be the legal custodian of repatriated artifacts – and the palace pushed for a institution under the king's authority, opposing the desires of Obaseki.

Strategic Positioning

This left Mowaa in a delicate position: asserting a definite position on return while remaining diplomatic on guardianship – and emphasising its broader vision, which led to|c