🔗 Share this article

The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the middle of regional political struggles during the time it was expected to – but was unable – to open its doors to the general public for the first time.

The Ambitious Project

The large-scale complex sits in the core of Benin City, capital of the southern region of Edo – and includes an historical dig and structures created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in the US capital in 2016.

It has been five years in the creation – and is designed to honor both the history and the current era of cultural innovation in the locale famous for the cultural artifacts, artworks taken from the king's palace by British troops in the 19th Century.

Readiness and Potential

It is remarkable – and ahead of the anticipated opening, Mowaa was active with employees committed to prove it is a place that can compete with renowned art institutions in the Western world.

Internally conservators meticulously opened art pieces from safety materials, inspecting each artifact and taking detailed documentation before placing them on exhibition areas and plinths.

Experts calibrated temperature regulation systems. In the research lab, officers adjusted devices designed to preserve centuries-old items.

Financial Backing and Economic Vision

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

"I aim us to have a substantial economic impact on area populations around here," he explained to media outlets, mentioning that he hoped to make Benin City "an arts hub."

Mowaa, a non-profit national foundation, envisions itself establishing in excess of 30,000 direct and indirect jobs and adding more than $80m annually to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – capital raised from various supporters, featuring the French and German governments, the London institution and the regional authorities.

But now the state authorities has withdrawn support from beneath it – revoking the occupancy of the property on which the museum was built.

An government communicator stated this was because in the initial documents it had referred to itself as EMOWAA – and it had later eliminated "the state identifier" from its title.

Unrest and Official Response

This announcement came after demonstrations on Sunday, when activists invaded the campus insisting it be designated the Benin Royal Museum.

A boisterous group harassed foreign guests at the venue ahead of the opening – compelling them to be quickly removed under police escort.

President Bola Tinubu has additionally intervened to attempt to settle the dispute, creating a presidential committee to manage the situation.

Governance Issues

But how has this become so controversial – and such a public relations crisis?

The majority of it comes down to internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office finished last year – who was a key supporter of the initiative.

And it appears the administration of the current leader, a close ally of the regional monarch, referred to as the Oba, may want increased control in the venture. The demonstrators on Sunday, for instance, were demanding that the facility be put under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

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

Because although the institution does eventually welcome visitors, these objects will be noticeably missing.

They are metal, ivory and wooden artworks that once embellished the king's residence of the ancient kingdom before British soldiers took them in 1897 during a punitive expedition.

Today, numerous stay spread across galleries in Europe and North America -- such as the UK institution, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their repatriation has become one of the most disputed discussions in the international art community. Approximately 150 have now made their way home – and additional are expected to return.

When plans for the facility in the city were initially revealed in 2019, the key players on Nigeria's art scene anticipated it would become their natural home – a modern facility to exhibit them to the world.

But the issues became confused some time back after the federal government declared that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household campaigned for a facility under the monarch's supervision, contrary to the desires of the former governor.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a clear stance on return while staying tactful on guardianship – and emphasising its wider mission, which led to|c