🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the center of regional political struggles during the period it was expected to – but was unable – to open its doors to the visitors for the initial occasion.

The Major Initiative

The 15-acre facility stands in the center of the Edo state capital, main city of the southern area of Edo – and contains an archaeological dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the development – and is planned to celebrate both the heritage and the current era of artistic expression in the area famous for the cultural artifacts, artworks stolen from the king's palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and prior to the anticipated opening, Mowaa was energetic with workers resolved to show it is a place that can compete with well-known museums and galleries in the Europe and America.

Internally conservators meticulously unwrapped cultural items from safety materials, checking each item and taking meticulous records before placing them on display surfaces and stands.

Experts calibrated environmental controls. In the materials science laboratory, personnel adjusted instruments designed to maintain centuries-old items.

Investment and Economic Plans

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

"I want us to have a major economic impact on area populations in the vicinity," he stated to media outlets, adding that he aspired to make the city "a tourism center."

Mowaa, a not-for-profit Nigerian institution, aims at creating over 30,000 employment opportunities and providing over $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 collected from different donors, featuring the French and German governments, the British Museum and the regional authorities.

But at present the local government has pulled the rug from below it – canceling the use of the land on which the museum was built.

An official representative clarified this was because in the initial documents it had identified as the Edo-named institution – and it had subsequently removed "the state identifier" from its designation.

Unrest and Official Response

This declaration was preceded by protests on recently, when activists stormed the facility calling for it be designated the Museum of the Benin Kingdom.

A disruptive crowd harassed international visitors at the facility ahead of the inauguration – requiring them to be hurried away under official guard.

Head of state Bola Tinubu has even stepped in to try and resolve the conflict, setting up a special task force to address the controversy.

Governance Issues

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

A great deal of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the project.

And it looks like the administration of the new governor, a strong supporter of the area king, called the Oba, may want more of a stake in the initiative. The demonstrators on Sunday, for example, were calling for that the institution be put under the control of the current Oba.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of Africa's most renowned historical legacy.

Because although the facility does ultimately open, these artifacts will be clearly not present.

They are metal, elephant tusk and timber sculptures that once adorned the monarch's home of the ancient kingdom before UK forces looted them in the late nineteenth century during a punitive expedition.

Nowadays, many remain spread across museums in the West -- including the British Museum, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the worldwide cultural sector. About 150 have presently come back – and more are expected to return.

When proposals for the institution in Benin City were initially revealed in the pre-pandemic era, the key players on the country's cultural sector anticipated it would become their natural home – a modern facility to display them to the world.

But the issues became confused some time back after the central administration stated that the traditional ruler would be the rightful owner of any returned bronzes – and the monarch's court pushed for a facility under the royal family's direct control, contrary to the wishes of the former governor.

Political Navigation

This left Mowaa in a difficult situation: asserting a definite position on restitution while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c