🔗 Share this article

Nigeria's impressive new Art Museum of West Africa (Mowaa) has ended up in the center of regional political struggles during the time it was expected to – but failed – to open its doors to the visitors for the initial occasion.

The Grand Vision

The large-scale facility sits in the heart of Benin's urban center, main city of the southern state of Edo – and contains an archaeological dig and structures created by renowned dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is planned to celebrate both the past and the current era of cultural innovation in the region renowned for the cultural artifacts, artworks stolen from the city's royal palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and prior to the anticipated opening, Mowaa was active with employees determined to demonstrate it is a place that can compete with renowned art institutions in the Europe and America.

Internally art restorers meticulously unwrapped artworks from safety materials, checking each artifact and taking detailed records before arranging them on exhibition areas and bases.

Technicians fine-tuned temperature regulation systems. In the scientific facility, officers adjusted instruments intended to preserve centuries-old objects.

Funding and Economic Goals

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

"I want us to have a significant economic impact on area populations around here," he stated to the press, mentioning that he hoped to make this urban center "a tourism center."

Mowaa, a not-for-profit local organization, aims at generating in excess of 30,000 employment opportunities and adding above $80m per year to the regional creative economy through collaborations and events.

Funding Sources and Political Challenges

It has required $25m to get here – funds raised from multiple supporters, such as the European governments, the London institution and the regional authorities.

But now the state authorities has revoked permission from below it – revoking the use of the land on which the building was erected.

An Edo state spokesperson stated this was because in the early agreements it had called itself the Edo-named institution – and it had later removed "the regional name" from its designation.

Protests and Political Intervention

This announcement followed rallies on the weekend, when protesters entered the facility insisting it be designated the Benin Royal Museum.

A boisterous assembly insulted international visitors at the museum prior to the opening – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even stepped in to attempt to settle the dispute, creating a special task force to do some damage control.

Governance Issues

But why has this evolved into so controversial – and such a public relations crisis?

A great deal of it results from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose administration ended last year – who was a key supporter of the initiative.

And it seems the administration of the current leader, a close ally of the local traditional ruler, known as the Oba, may desire more of a stake in the project. The protesters on that day, for case, were demanding that the facility be put under the control of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the contentious issue of the cultural artifacts, one of Africa's most renowned artistic heritage.

Because although the facility does eventually open, these bronzes will be conspicuously absent.

They are brass, ivory and timber artworks that once decorated the monarch's home of the historical empire before British soldiers stole them in 1897 during a colonial invasion.

Currently, thousands continue to be spread across institutions in Europe and North America -- including the British Museum, European center and the American museum.

Repatriation Campaigns

Their return has become one of the most contested debates in the international art community. Roughly 150 have currently come back – and more are due to follow.

When proposals for the institution in Benin City were first announced in the pre-pandemic era, the influential figures on the country's cultural sector anticipated it would become their natural home – a state-of-the-art complex to exhibit them to the global audience.

But the issues became confused two years ago after the federal government stated that the Oba would be the rightful owner of returned objects – and the palace pushed for a museum under the king's authority, contrary to the preferences of Obaseki.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a clear stance on restitution while remaining diplomatic on ownership – and highlighting its larger purpose, which led to|c