Nigeria's remarkable new Art Museum of West Africa (Mowaa) has found itself in the middle of local power politics during the time it was supposed to – but was unable – to begin operations to the public for the first time.
The Ambitious Project
The large-scale campus stands in the heart of the Edo state capital, main city of the southern region of Edo – and features an archaeological dig and structures designed by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington in 2016.
It has been five years in the creation – and is envisioned to showcase both the history and the modern times of cultural innovation in the area famous for the historic artworks, artworks looted from the king's palace by British soldiers in the 1800s.
Readiness and Potential
It is remarkable – and ahead of the anticipated opening, Mowaa was energetic with employees committed to prove it is a place that can compete with well-known art institutions in the West.
Inside art restorers meticulously unwrapped art pieces from secure wrapping, checking each piece and taking meticulous documentation before placing them on walls and stands.
Technicians adjusted climate control systems. In the scientific facility, personnel adjusted equipment designed to maintain historical items.
Investment and Economic Plans
The venture has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.
"I want us to have a substantial economic benefit on local residents in the vicinity," he told media outlets, noting that he aspired to make Benin City "a cultural destination."
Mowaa, a charitable Nigerian institution, sees itself creating in excess of 30,000 direct and indirect jobs and providing over $80m each year to the area arts sector through collaborations and events.
Financial Support and Government Issues
It has taken $25m to get here – capital gathered from various donors, featuring the French and German governments, the London institution and the local administration.
But currently the local government has pulled the rug from beneath it – revoking the use of the site on which the building was erected.
An Edo state spokesperson explained this was because in the original paperwork it had identified as EMOWAA – and it had later removed "Edo" from its title.
Unrest and Official Response
This announcement was preceded by protests on Sunday, when people invaded the complex calling for it be named the Museum of the Benin Kingdom.
A rowdy crowd insulted foreign guests at the museum ahead of the launch – forcing them to be quickly removed under police escort.
Head of state Bola Tinubu has also stepped in to try and resolve the dispute, establishing a high-level committee to manage the situation.
Governance Issues
But in what way has this evolved into so politicised – and such a reputation problem?
Much of it comes down to internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the museum.
And it looks like the leadership of the current leader, a close ally of the area king, called the Oba, may desire greater involvement in the initiative. The protesters on that day, for example, were calling for that the museum be put under the authority of the royal leader.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the Benin Bronzes, one of the continent's most renowned artistic heritage.
Because even if the facility does eventually open, these objects will be noticeably missing.
They are metal, elephant tusk and wooden carvings that once adorned the monarch's home of the Benin Kingdom before British soldiers looted them in the colonial era during a military operation.
Nowadays, thousands remain spread across institutions in Europe and North America -- featuring the London museum, European center and the American museum.
Repatriation Campaigns
Their return has become one of the most contested discussions in the global art world. About 150 have presently been returned – and further are due to follow.
When plans for the museum in the urban center were first announced in the pre-pandemic era, the movers and shakers on Nigeria's art scene anticipated it would become their perfect venue – a modern campus to display them to the global audience.
But the waters were muddied recently after the federal government declared that the traditional ruler would be the rightful owner of any returned bronzes – and the palace campaigned for a museum under the king's authority, against the desires of Obaseki.
Strategic Positioning
This placed Mowaa in a difficult situation: asserting a specific viewpoint on restitution while remaining diplomatic on ownership – and emphasising its wider mission, which led to|c
