Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the crosshairs of local power politics during the week it was scheduled to – but did not manage – to welcome visitors to the public for the first time.
The Ambitious Project
The large-scale campus is located in the center of the Edo state capital, administrative center of the southern state of Edo – and features an excavation site and structures planned by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.
It has been five years in the creation – and is envisioned to honor both the history and the present of creativity in the locale famous for the Benin Bronzes, artworks taken from the king's palace by British soldiers in the 1800s.
Setup and Prospects
It is remarkable – and prior to the anticipated opening, Mowaa was buzzing with staff determined to show it is a place that can compete with renowned museums and galleries in the Western world.
Internally art restorers carefully revealed art pieces from safety materials, inspecting each item and taking detailed notes before positioning them on display surfaces and bases.
Experts adjusted environmental controls. In the research lab, officers adjusted equipment designed to maintain centuries-old objects.
Investment and Economic Plans
The project has been the concept of investor Phillip Ihenacho – currently Mowaa's chief executive.
"I want us to have a substantial financial effect on local residents around here," he explained to media outlets, adding that he wanted to make this urban center "a tourism center."
Mowaa, a not-for-profit Nigerian institution, envisions itself generating in excess of 30,000 employment opportunities and contributing over $80m annually to the local cultural industry through collaborations and activities.
Investment and Administrative Problems
It has taken $25m to reach this point – money raised from different donors, such as the international partners, the UK museum and the Edo state government.
But currently the local government has revoked permission from beneath it – canceling the use of the land on which the museum was built.
An Edo state spokesperson clarified this was because in the initial documents it had referred to itself as EMOWAA – and it had subsequently eliminated "the state identifier" from its name.
Demonstrations and Government Action
This statement followed protests on recently, when protesters invaded the facility demanding it be called the Museum of the Benin Kingdom.
A rowdy group insulted overseas dignitaries at the facility prior to the launch – forcing them to be escorted out under police escort.
National leader Bola Tinubu has also become involved to work to address the tensions, creating a presidential committee to address the controversy.
Governance Issues
But why has this become so divisive – and such a PR disaster?
A great deal of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office finished recently – who was a key supporter of the project.
And it seems the leadership of the current leader, a strong supporter of the area king, referred to as the royal figure, may seek more of a stake in the venture. The demonstrators on the weekend, for instance, were demanding that the institution be positioned under the control of the royal leader.
The Historical Objects Discussion
This highlights the controversial matter of the cultural artifacts, one of the region's most celebrated historical legacy.
Because though the institution does eventually open, these bronzes will be noticeably missing.
They are metal, ivory and wooden artworks that once adorned the royal palace of the historical empire before UK forces took them in 1897 during a punitive expedition.
Today, many continue to be distributed across institutions in Europe and North America -- such as the British Museum, German museum and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most contested conversations in the international art community. About 150 have now come back – and additional are scheduled to be repatriated.
When plans for the facility in Benin City were first announced in 2019, the key players on Nigeria's art scene anticipated it would become their perfect venue – a advanced complex to exhibit them to the global audience.
But the situation became complicated recently after the central administration stated that the royal leader would be the rightful owner of any returned bronzes – and the royal household campaigned for a facility under the royal family's direct control, opposing the wishes of Obaseki.
Strategic Positioning
This placed Mowaa in a difficult situation: maintaining a clear stance on restitution while remaining diplomatic on guardianship – and highlighting its larger purpose, which led to|c
