The nation's remarkable new Art Museum of West Africa (Mowaa) has landed in the crosshairs of local power politics during the time it was supposed to – but was unable – to open its doors to the general public for the first time.
The Major Initiative
The six-hectare campus stands in the heart of Benin City, main city of the southern region of Edo – and includes an excavation site and buildings planned by celebrated dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that opened in the US capital in 2016.
It has been five years in the making – and is envisioned to celebrate both the history and the present of cultural innovation in the area known for the Benin Bronzes, historical pieces stolen from the king's palace by British soldiers in the 1800s.
Setup and Prospects
It is impressive – and prior to the scheduled opening, Mowaa was buzzing with staff determined to show it is a place that can match established museums and galleries in the West.
Inside preservation experts precisely unwrapped art pieces from protective packaging, checking each piece and taking meticulous notes before arranging them on exhibition areas and bases.
Specialists fine-tuned climate control systems. In the materials science laboratory, staff members calibrated equipment designed to maintain centuries-old items.
Funding and Economic Goals
The initiative has been the concept of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.
"I hope us to have a significant economic benefit on local residents in this region," he explained to the press, adding that he wanted to make Benin City "a cultural destination."
Mowaa, a non-profit national foundation, envisions itself creating over 30,000 employment opportunities and contributing above $80m annually to the regional creative economy through alliances and events.
Financial Support and Government Issues
It has taken $25m to reach this point – capital gathered from different contributors, such as the European governments, the British Museum and the Edo state government.
But currently the regional administration has pulled the rug from below it – terminating the use of the property on which the museum was built.
An Edo state spokesperson explained this was because in the early agreements it had referred to itself as EMOWAA – and it had since removed "the regional name" from its designation.
Unrest and Official Response
This declaration followed protests on Sunday, when people entered the complex demanding it be named the Benin Royal Museum.
A boisterous group insulted international visitors at the venue before the launch – compelling them to be quickly removed under security protection.
Head of state Bola Tinubu has additionally become involved to try and resolve the tensions, establishing a high-level committee to do some damage control.
Administrative Challenges
But why has this become so politicised – and such a public relations crisis?
A great deal of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded recently – who was a key supporter of the museum.
And it seems the administration of the current leader, a close ally of the area king, known as the royal figure, may want more of a stake in the project. The activists on that day, for case, were insisting that the institution be positioned under the supervision of Oba Ewuare II.
The Historical Objects Discussion
This emphasizes the contentious issue of the Benin Bronzes, one of Africa's most renowned artistic heritage.
Because although the facility does eventually begin operations, these bronzes will be clearly not present.
They are metal, ivory and timber sculptures that once adorned the king's residence of the Benin Kingdom before colonial troops stole them in 1897 during a colonial invasion.
Today, thousands stay distributed across museums in the West -- including the UK institution, Berlin's Humboldt Forum and the New York institution.
Return Initiatives
Their homecoming has become one of the most contested debates in the international art community. Roughly 150 have currently been returned – and more are due to follow.
When plans for the museum in the city were first announced in recent years, the influential figures on the national arts community expected it would become their natural home – a modern campus to exhibit them to the global audience.
But the issues became confused two years ago after the central administration stated that the Oba would be the proper guardian of repatriated artifacts – and the monarch's court pushed for a museum under the royal family's direct control, contrary to the wishes of the ex-leader.
Political Navigation
This placed Mowaa in a difficult situation: asserting a definite position on repatriation while staying tactful on ownership – and emphasising its broader vision, which led to|c
