🔗 Share this article

Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the middle of local power politics during the week it was scheduled to – but was unable – to begin operations to the general public for the first time.

The Grand Vision

The large-scale complex sits in the heart of Benin's urban center, main city of the southern state of Edo – and contains an excavation site and facilities created by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the development – and is designed to celebrate both the history and the present of cultural innovation in the area famous for the historic artworks, historical pieces looted from the city's royal palace by British soldiers in the nineteenth century.

Readiness and Potential

It is impressive – and before the scheduled opening, Mowaa was buzzing with workers resolved to prove it is a institution that can compete with well-known cultural centers in the Europe and America.

Within conservators carefully unwrapped cultural items from protective packaging, checking each item and taking meticulous documentation before placing them on exhibition areas and stands.

Experts fine-tuned environmental controls. In the research lab, officers calibrated devices designed to preserve ancient items.

Investment and Economic Plans

The venture has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.

"I aim us to have a substantial financial effect on local residents around here," he told media outlets, adding that he hoped to make this urban center "a cultural destination."

Mowaa, a non-profit local organization, envisions itself creating more than 30,000 direct and indirect jobs and contributing more than $80m per year to the regional creative economy through alliances and programming.

Financial Support and Government Issues

It has required $25m to achieve this stage – capital gathered from different donors, such as the European governments, the UK museum and the Edo state government.

But currently the local government has withdrawn support from under it – canceling the utilization of the land on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had called itself EMOWAA – and it had subsequently dropped "Edo" from its designation.

Demonstrations and Government Action

This statement followed protests on the weekend, when activists invaded the facility demanding it be called the Royal Benin Museum.

A disruptive crowd harassed overseas dignitaries at the facility ahead of the opening – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has also intervened to attempt to settle the dispute, establishing a special task force to manage the situation.

Political Complexities

But in what way has this become so politicised – and such a PR disaster?

Much of it comes down to local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office finished recently – who was a major backer of the museum.

And it appears the leadership of the current leader, a strong supporter of the area king, called the royal figure, may seek greater involvement in the initiative. The demonstrators on the weekend, for case, were calling for that the museum be placed under the control of the current Oba.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the historical artworks, one of Africa's most celebrated cultural treasures.

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

They are metal, elephant tusk and wooden carvings that once adorned the monarch's home of the ancient kingdom before colonial troops took them in 1897 during a punitive expedition.

Currently, numerous remain spread across galleries in the West -- featuring the London museum, German museum and the New York institution.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the global art world. Roughly 150 have now been returned – and additional are expected to return.

When ideas for the facility in Benin City were originally proposed in 2019, the movers and shakers on the national arts community expected it would become their perfect venue – a advanced complex to show them off to the global audience.

But the issues became confused two years ago after the central administration declared that the royal leader would be the proper guardian of any returned bronzes – and the royal household pushed for a museum under the monarch's supervision, against the preferences of Obaseki.

Diplomatic Challenges

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