🔗 Share this article

Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the week it was scheduled to – but did not manage – to begin operations to the visitors for the first time.

The Grand Vision

The 15-acre complex is located in the heart of Benin City, capital of the southern area of Edo – and contains an historical dig and buildings created by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in the US capital in 2016.

It has been half a decade in the making – and is planned to showcase both the heritage and the present of cultural innovation in the area known for the cultural artifacts, cultural objects looted from the royal palace by UK forces in the nineteenth century.

Setup and Prospects

It is impressive – and prior to the planned opening, Mowaa was buzzing with employees determined to prove it is a institution that can compete with renowned cultural centers in the Europe and America.

Inside conservators precisely revealed cultural items from secure wrapping, inspecting each artifact and taking thorough notes before positioning them on walls and plinths.

Specialists adjusted temperature regulation systems. In the research lab, staff members adjusted equipment designed to maintain historical items.

Financial Backing and Economic Vision

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

"I hope us to have a major economic impact on area populations in this region," he stated to the press, adding that he aspired to make the city "a tourism center."

Mowaa, a non-profit national foundation, sees itself generating over 30,000 employment opportunities and providing over $80m each year to the regional creative economy through collaborations and events.

Investment and Administrative Problems

It has taken $25m to achieve this stage – funds raised from different contributors, such as the European governments, the British Museum and the regional authorities.

But currently the regional administration has pulled the rug from beneath it – revoking the occupancy of the site on which the facility was constructed.

An Edo state spokesperson stated this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its name.

Protests and Political Intervention

This statement was preceded by rallies on Sunday, when protesters invaded the facility demanding it be designated the Museum of the Benin Kingdom.

A disruptive crowd confronted international visitors at the museum ahead of the opening – compelling them to be hurried away under security protection.

Head of state Bola Tinubu has even become involved to try and resolve the tensions, setting up a special task force to do some damage control.

Governance Issues

But why has this turned into so divisive – and such a PR disaster?

A great deal of it comes down to internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the museum.

And it seems the government of the current leader, a close ally of the local traditional ruler, known as the Oba, may seek more of a stake in the initiative. The protesters on that day, for instance, were insisting that the facility be positioned under the control of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the disputed topic of the Benin Bronzes, one of the region's most celebrated historical legacy.

Because even if the institution does ultimately welcome visitors, these artifacts will be noticeably missing.

They are metal, ivory and wooden carvings that once embellished the royal palace of the ancient kingdom before British soldiers looted them in the late nineteenth century during a military operation.

Nowadays, many remain scattered across museums in Europe and North America -- featuring the British Museum, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most debated conversations in the worldwide cultural sector. About 150 have now been returned – and more are due to follow.

When plans for the museum in the urban center were first announced in 2019, the key players on the country's cultural sector hoped it would become their ideal location – a advanced complex to show them off to the world.

But the waters were muddied some time back after the national authorities stated that the traditional ruler would be the rightful owner of repatriated artifacts – and the monarch's court campaigned for a facility under the king's authority, opposing the preferences of Obaseki.

Diplomatic Challenges

This placed Mowaa in a delicate position: asserting a specific viewpoint on repatriation while being careful on ownership – and emphasising its wider mission, which led to|c