🔗 Share this article

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

The Grand Vision

The large-scale facility sits in the center of the Edo state capital, administrative center of the southern region of Edo – and features an historical dig and buildings designed by high-profile Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington in 2016.

It has been five years in the making – and is envisioned to honor both the past and the current era of creativity in the locale famous for the historic artworks, cultural objects taken from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the scheduled opening, Mowaa was energetic with staff determined to prove it is a institution that can rival well-known museums and galleries in the West.

Within art restorers carefully revealed art pieces from safety materials, inspecting each item and taking detailed records before placing them on exhibition areas and stands.

Specialists adjusted environmental controls. In the scientific facility, personnel calibrated devices designed to maintain historical objects.

Funding and Economic Goals

The venture has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a major financial effect on local residents around here," he stated to media outlets, adding that he aspired to make this urban center "a cultural destination."

Mowaa, a charitable local organization, aims at establishing over 30,000 employment opportunities and contributing above $80m each year to the area arts sector through partnerships and programming.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – funds collected from various contributors, featuring the French and German governments, the London institution and the Edo state government.

But currently the local government has revoked permission from beneath it – canceling the utilization of the land on which the building was erected.

An Edo state spokesperson clarified this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had later eliminated "the state identifier" from its title.

Unrest and Official Response

This announcement was preceded by protests on the weekend, when protesters invaded the facility insisting it be named the Benin Royal Museum.

A disruptive group insulted international visitors at the museum prior to the launch – requiring them to be hurried away under police escort.

National leader Bola Tinubu has even intervened to attempt to settle the dispute, setting up a high-level committee to do some damage control.

Administrative Challenges

But in what way has this turned into so politicised – and such a reputation problem?

The majority of it stems from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded recently – who was a primary advocate of the project.

And it appears the government of the new governor, a strong supporter of the area king, referred to as the traditional leader, may desire greater involvement in the initiative. The demonstrators on the weekend, for example, were demanding that the facility be put under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the historical artworks, one of the region's most famous cultural treasures.

Because though the institution does ultimately welcome visitors, these artifacts will be clearly not present.

They are brass, ivory and wooden artworks that once embellished the monarch's home of the Benin Kingdom before British soldiers took them in 1897 during a colonial invasion.

Today, many continue to be distributed across institutions in Western nations -- including the UK institution, German museum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most contested conversations in the global art world. About 150 have now made their way home – and additional are due to follow.

When ideas for the museum in the city were initially revealed in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their ideal location – a state-of-the-art facility to display them to the global audience.

But the issues became confused some time back after the federal government stated that the royal leader would be the proper guardian of any returned bronzes – and the royal household campaigned for a facility under the monarch's supervision, opposing the desires of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a delicate position: expressing a clear stance on repatriation while remaining diplomatic on custodianship – and highlighting its broader vision, which led to|c