🔗 Share this article

The nation's remarkable new Art Museum of West Africa (Mowaa) has found itself in the middle of regional political struggles during the period it was scheduled to – but failed – to open its doors to the visitors for the very first time.

The Major Initiative

The 15-acre campus sits in the heart of Benin City, administrative center of the southern state of Edo – and features an archaeological dig and structures designed by celebrated dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is planned to celebrate both the history and the modern times of creativity in the locale famous for the Benin Bronzes, cultural objects taken from the city's royal palace by British soldiers in the 19th Century.

Preparation and Promise

It is remarkable – and before the anticipated opening, Mowaa was energetic with staff committed to prove it is a institution that can match renowned art institutions in the Western world.

Within preservation experts precisely unwrapped cultural items from protective packaging, checking each item and taking detailed records before placing them on exhibition areas and stands.

Technicians calibrated climate control systems. In the research lab, personnel calibrated devices designed to preserve centuries-old items.

Investment and Economic Plans

The initiative has been the idea of investor Phillip Ihenacho – currently Mowaa's managing director.

"I hope us to have a significant financial effect on local residents around here," he explained to the press, noting that he wanted to make Benin City "an arts hub."

Mowaa, a charitable Nigerian institution, aims at creating more than 30,000 work positions and adding above $80m per year to the local cultural industry through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to reach this point – capital raised from various contributors, featuring the international partners, the British Museum and the local administration.

But currently the state authorities has pulled the rug from below it – canceling the use of the site on which the building was erected.

An Edo state spokesperson stated this was because in the early agreements it had called itself Edo Museum of West African Art – and it had later removed "the state identifier" from its designation.

Demonstrations and Government Action

This statement came after protests on Sunday, when activists invaded the facility insisting it be named the Royal Benin Museum.

A disruptive assembly harassed foreign guests at the facility prior to the opening – compelling them to be hurried away under official guard.

Head of state Bola Tinubu has even become involved to try and resolve the dispute, creating a high-level committee to address the controversy.

Political Complexities

But how has this turned into so controversial – and such a reputation problem?

Much of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded recently – who was a primary advocate of the initiative.

And it seems the government of the recently elected official, a close ally of the regional monarch, known as the traditional leader, may desire increased control in the initiative. The demonstrators on the weekend, for case, were insisting that the facility be positioned under the authority of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the cultural artifacts, one of Africa's most renowned cultural treasures.

Because though the facility does ultimately begin operations, these objects will be conspicuously absent.

They are metal, ivory and wooden carvings that once adorned the royal palace of the historical empire before British soldiers stole them in the colonial era during a punitive expedition.

Today, numerous continue to be distributed across galleries in Europe and North America -- including the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most debated conversations in the global art world. Roughly 150 have now made their way home – and more are scheduled to be repatriated.

When plans for the museum in the city were initially revealed in 2019, the influential figures on the country's cultural sector anticipated it would become their perfect venue – a state-of-the-art facility to exhibit them to the global audience.

But the issues became confused some time back after the central administration announced that the Oba would be the rightful owner of returned objects – and the palace advocated for a facility under the royal family's direct control, opposing the desires of the former governor.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a specific viewpoint on return while being careful on ownership – and stressing its broader vision, which led to|c