The nation's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was scheduled to – but failed – to open its doors to the public for the very first time.
The Grand Vision
The 15-acre campus stands in the core of Benin City, administrative center of the southern area of Edo – and contains an archaeological dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in the US capital in 2016.
It has been five years in the making – and is planned to showcase both the past and the current era of artistic expression in the area known for the historic artworks, cultural objects looted from the royal palace by British troops in the nineteenth century.
Preparation and Promise
It is remarkable – and prior to the scheduled opening, Mowaa was active with employees determined to show it is a institution that can rival well-known art institutions in the West.
Within preservation experts meticulously revealed art pieces from safety materials, examining each item and taking thorough documentation before arranging them on walls and stands.
Technicians adjusted environmental controls. In the scientific facility, staff members adjusted devices meant to maintain centuries-old artefacts.
Investment and Economic Plans
The project has been the concept of investor Phillip Ihenacho – presently Mowaa's executive director.
"I hope us to have a substantial economic benefit on communities in the vicinity," he stated to the press, mentioning that he wanted to make Benin City "a tourism center."
Mowaa, a charitable local organization, sees itself creating more than 30,000 direct and indirect jobs and providing over $80m annually to the local cultural industry through collaborations and activities.
Financial Support and Government Issues
It has taken $25m to reach this point – capital raised from different donors, featuring the European governments, the British Museum and the local administration.
But currently the regional administration has withdrawn support from beneath it – revoking the occupancy of the site on which the facility was constructed.
An Edo state spokesperson clarified this was because in the original paperwork it had called itself EMOWAA – and it had subsequently eliminated "Edo" from its title.
Demonstrations and Government Action
This statement followed rallies on the weekend, when people invaded the campus calling for it be named the Benin Royal Museum.
A boisterous group harassed overseas dignitaries at the museum ahead of the launch – forcing them to be quickly removed under official guard.
Head of state Bola Tinubu has even stepped in to try and resolve the tensions, setting up a presidential committee to do some damage control.
Political Complexities
But in what way has this turned into so politicised – and such a reputation problem?
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 ended recently – who was a primary advocate of the project.
And it seems the government of the new governor, a close ally of the regional monarch, referred to as the Oba, may want more of a stake in the venture. The protesters on that day, for case, were calling for that the facility be placed under the control of the current Oba.
The Cultural Artifacts Debate
This brings into focus the disputed topic of the Benin Bronzes, one of the continent's most renowned artistic heritage.
Because though the facility does finally open, these bronzes will be clearly not present.
They are metal, ivory and wooden sculptures that once decorated the king's residence of the ancient kingdom before UK forces took them in the late nineteenth century during a military operation.
Today, numerous continue to be distributed across museums in Europe and North America -- featuring the UK institution, German museum and the Metropolitan Museum of Art.
Restitution Efforts
Their repatriation has become one of the most disputed debates in the worldwide cultural sector. Roughly 150 have currently come back – and additional are due to follow.
When ideas for the facility in Benin City were originally proposed in recent years, the influential figures on the national arts community anticipated it would become their natural home – a advanced facility to display them to the world.
But the situation became complicated two years ago after the federal government announced that the royal leader would be the rightful owner of repatriated artifacts – and the palace pushed for a museum under the king's authority, opposing the wishes of the ex-leader.
Strategic Positioning
This placed Mowaa in a difficult situation: expressing a definite position on return while staying tactful on ownership – and highlighting its wider mission, which led to|c
