The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the center of regional political struggles during the period it was expected to – but was unable – to welcome visitors to the public for the first time.
The Grand Vision
The six-hectare campus stands in the center of the Edo state capital, capital of the southern region of Edo – and features an archaeological dig and facilities created by high-profile dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.
It has been 60 months in the making – and is designed to honor both the past and the present of creativity in the region famous for the cultural artifacts, artworks stolen from the king's palace by British soldiers in the nineteenth century.
Preparation and Promise
It is impressive – and prior to the planned opening, Mowaa was buzzing with workers determined to prove it is a institution that can match renowned cultural centers in the West.
Within preservation experts meticulously opened artworks from safety materials, examining each item and taking detailed documentation before positioning them on walls and stands.
Technicians calibrated temperature regulation systems. In the research lab, personnel calibrated equipment designed to maintain ancient items.
Financial Backing and Economic Vision
The venture has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.
"I hope us to have a significant financial effect on communities around here," he explained to media outlets, mentioning that he hoped to make Benin City "an arts hub."
Mowaa, a not-for-profit local organization, envisions itself establishing over 30,000 employment opportunities and contributing over $80m annually to the local cultural industry through alliances and events.
Financial Support and Government Issues
It has needed $25m to reach this point – capital collected from various donors, featuring the European governments, the British Museum and the local administration.
But currently the local government has pulled the rug from under it – terminating the occupancy of the land on which the museum was built.
An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently removed "the state identifier" from its designation.
Protests and Political Intervention
This announcement was preceded by demonstrations on recently, when people entered the complex insisting it be designated the Benin Royal Museum.
A boisterous assembly insulted foreign guests at the venue ahead of the inauguration – forcing them to be escorted out under official guard.
Head of state Bola Tinubu has also intervened to work to address the tensions, setting up a high-level committee to manage the situation.
Governance Issues
But why has this turned into so divisive – and such a public relations crisis?
A great deal of it results from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office ended last year – who was a key supporter of the project.
And it appears the administration of the recently elected official, a key associate of the regional monarch, known as the royal figure, may want more of a stake in the project. The activists on Sunday, for case, were insisting that the museum be positioned under the authority of the royal leader.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the historical artworks, one of the continent's most famous artistic heritage.
Because although the facility does ultimately begin operations, these objects will be clearly not present.
They are metal, ivory and timber artworks that once embellished the royal palace of the ancient kingdom before colonial troops took them in 1897 during a military operation.
Nowadays, numerous continue to be distributed across institutions in the West -- including the UK institution, 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 more are expected to return.
When ideas for the facility in the urban center were initially revealed in recent years, the key players on the national arts community expected it would become their ideal location – a state-of-the-art facility to show them off to the world.
But the waters were muddied recently after the national authorities stated that the royal leader would be the legal custodian of any returned bronzes – and the royal household pushed for a facility under the king's authority, contrary to the desires of Obaseki.
Diplomatic Challenges
This placed Mowaa in a delicate position: asserting a specific viewpoint on repatriation while staying tactful on ownership – and highlighting its broader vision, which led to|c
