🔗 Share this article

The nation's remarkable new West African Art Museum (Mowaa) has landed in the middle of local power politics during the time it was supposed to – but was unable – to begin operations to the general public for the very first time.

The Major Initiative

The six-hectare complex is located in the core of the Edo state capital, administrative center of the southern area of Edo – and contains an historical dig and buildings designed by high-profile Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been 60 months in the creation – and is envisioned to showcase both the heritage and the present of cultural innovation in the locale renowned for the cultural artifacts, historical pieces looted from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is impressive – and prior to the planned opening, Mowaa was active with staff resolved to demonstrate it is a institution that can match renowned museums and galleries in the Western world.

Within art restorers carefully unwrapped art pieces from secure wrapping, inspecting each item and taking detailed records before placing them on display surfaces and plinths.

Specialists fine-tuned temperature regulation systems. In the research lab, staff members set up equipment designed to conserve centuries-old items.

Funding and Economic Goals

The project has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a significant economic benefit on local residents around here," he told media outlets, adding that he wanted to make Benin City "a tourism center."

Mowaa, a not-for-profit national foundation, aims at establishing in excess of 30,000 work positions and adding above $80m per year to the regional creative economy through alliances and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – capital gathered from different supporters, including the European governments, the British Museum and the Edo state government.

But currently the regional administration has pulled the rug from under it – revoking the use of the land on which the museum was built.

An government communicator explained this was because in the original paperwork it had called itself the Edo-named institution – and it had since removed "the state identifier" from its designation.

Demonstrations and Government Action

This statement followed protests on Sunday, when people entered the complex demanding it be called the Royal Benin Museum.

A disruptive group harassed overseas dignitaries at the museum before the inauguration – compelling them to be escorted out under security protection.

President Bola Tinubu has additionally become involved to work to address the conflict, creating a presidential committee to do some damage control.

Political Complexities

But how has this evolved into so controversial – and such a PR disaster?

The majority of it comes down to local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose administration ended the previous year – who was a key supporter of the museum.

And it seems the administration of the recently elected official, a strong supporter of the area king, called the Oba, may desire more of a stake in the initiative. The protesters on that day, for instance, were demanding that the museum be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the Benin Bronzes, one of the region's most celebrated artistic heritage.

Because although the institution does eventually open, these bronzes will be clearly not present.

They are metal, elephant tusk and wooden artworks that once decorated the king's residence of the historical empire before colonial troops took them in the colonial era during a punitive expedition.

Currently, many continue to be spread across museums in Western nations -- including the London museum, European center and the American museum.

Repatriation Campaigns

Their repatriation has become one of the most disputed conversations in the worldwide cultural sector. Roughly 150 have currently been returned – and more are expected to return.

When ideas for the museum in the city were originally proposed in the pre-pandemic era, the key players on the national arts community expected it would become their ideal location – a modern complex to show them off to the global audience.

But the situation became complicated some time back after the central administration stated that the Oba would be the rightful owner of returned objects – and the palace campaigned for a museum under the king's authority, opposing the desires of the ex-leader.

Political Navigation

This left Mowaa in a difficult situation: maintaining a definite position on return while remaining diplomatic on ownership – and stressing its wider mission, which led to|c