🔗 Share this article

Nigeria's impressive new Art Museum of West Africa (Mowaa) has landed in the crosshairs of area political conflicts during the time it was supposed to – but was unable – to open its doors to the visitors for the first time.

The Major Initiative

The large-scale complex stands in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an excavation site and structures designed by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been five years in the creation – and is planned to showcase both the history and the modern times of creativity in the region known for the cultural artifacts, historical pieces taken from the royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is remarkable – and prior to the planned opening, Mowaa was active with staff resolved to show it is a place that can match well-known art institutions in the Europe and America.

Inside art restorers precisely unwrapped cultural items from protective packaging, examining each item and taking thorough documentation before placing them on display surfaces and stands.

Technicians calibrated temperature regulation systems. In the materials science laboratory, officers set up instruments intended to conserve ancient items.

Financial Backing and Economic Vision

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

"I aim us to have a significant economic benefit on area populations in this region," he explained to media outlets, noting that he aspired to make this urban center "a tourism center."

Mowaa, a not-for-profit local organization, sees itself generating in excess of 30,000 work positions and contributing above $80m each year to the regional creative economy through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – capital collected from various supporters, such as the international partners, the London institution and the regional authorities.

But at present the regional administration has revoked permission from below it – revoking the use of the site on which the building was erected.

An government communicator explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently removed "Edo" from its name.

Unrest and Official Response

This statement was preceded by protests on Sunday, when protesters stormed the complex demanding it be named the Benin Royal Museum.

A boisterous assembly insulted international visitors at the museum before the opening – requiring them to be hurried away under official guard.

President Bola Tinubu has also stepped in to work to address the tensions, setting up a presidential committee to do some damage control.

Governance Issues

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 regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a major backer of the project.

And it looks like the leadership of the current leader, a close ally of the regional monarch, referred to as the traditional leader, may seek more of a stake in the venture. The protesters on the weekend, for example, were demanding that the facility be placed under the control of Oba Ewuare II.

The Historical Objects Discussion

This emphasizes the disputed topic of the Benin Bronzes, one of the continent's most renowned cultural treasures.

Because even if the museum does finally welcome visitors, these bronzes will be conspicuously absent.

They are brass, elephant tusk and timber artworks that once adorned the royal palace of the historical empire before colonial troops stole them in the late nineteenth century during a colonial invasion.

Currently, thousands continue to be scattered across museums in the West -- including the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their homecoming has become one of the most contested debates in the international art community. Approximately 150 have now made their way home – and more are expected to return.

When plans for the institution in the city were initially revealed in 2019, the movers and shakers on the national arts community hoped it would become their perfect venue – a modern complex to display them to the global audience.

But the issues became confused some time back after the national authorities declared that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household advocated for a facility under the monarch's supervision, against the desires of Obaseki.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a specific viewpoint on return while being careful on ownership – and emphasising its broader vision, which led to|c