🔗 Share this article

The nation's stunning new Art Museum of West Africa (Mowaa) has ended up in the center of regional political struggles during the period it was scheduled to – but did not manage – to begin operations to the general public for the very first time.

The Ambitious Project

The 15-acre facility is located in the core of Benin City, administrative center of the southern area of Edo – and features an excavation site and structures planned by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in the US capital in 2016.

It has been 60 months in the creation – and is designed to celebrate both the heritage and the current era of creativity in the area known for the Benin Bronzes, historical pieces looted from the royal palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and ahead of the scheduled opening, Mowaa was active with workers determined to show it is a place that can match renowned museums and galleries in the West.

Within conservators precisely unwrapped artworks from safety materials, examining each item and taking thorough notes before arranging them on walls and stands.

Specialists adjusted environmental controls. In the research lab, officers adjusted instruments intended to conserve historical artefacts.

Investment and Economic Plans

The project has been the idea of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I hope us to have a major financial effect on local residents in the vicinity," he told the press, adding that he hoped to make Benin City "a tourism center."

Mowaa, a not-for-profit national foundation, envisions itself generating more than 30,000 work positions and contributing above $80m each year to the regional creative economy through alliances and activities.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – money gathered from various donors, such as the French and German governments, the London institution and the local administration.

But currently the state authorities has withdrawn support from beneath it – terminating the use of the site on which the facility was constructed.

An official representative clarified this was because in the early agreements it had referred to itself as EMOWAA – and it had later dropped "the state identifier" from its designation.

Demonstrations and Government Action

This statement was preceded by protests on recently, when people invaded the campus calling for it be called the Museum of the Benin Kingdom.

A boisterous crowd confronted overseas dignitaries at the venue ahead of the opening – requiring them to be escorted out under official guard.

President Bola Tinubu has also become involved to try and resolve the dispute, creating a presidential committee to address the controversy.

Governance Issues

But why has this become so politicised – and such a PR disaster?

Much of it stems from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration finished the previous year – who was a primary advocate of the museum.

And it seems the government of the current leader, a strong supporter of the regional monarch, known as the Oba, may seek greater involvement in the venture. The protesters on Sunday, for example, were calling for that the institution be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the Benin Bronzes, one of the region's most celebrated cultural treasures.

Because even if the museum does finally open, these bronzes will be noticeably missing.

They are metal, elephant tusk and wooden carvings that once adorned the monarch's home of the ancient kingdom before British soldiers stole them in 1897 during a punitive expedition.

Currently, numerous remain spread across galleries in Europe and North America -- featuring the UK institution, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated discussions in the international art community. Approximately 150 have now made their way home – and more are expected to return.

When ideas for the museum in the urban center were initially revealed in the pre-pandemic era, the influential figures on the country's cultural sector expected it would become their natural home – a state-of-the-art facility to display them to the international community.

But the situation became complicated recently after the federal government stated that the Oba would be the proper guardian of returned objects – and the monarch's court campaigned for a museum under the monarch's supervision, contrary to the wishes of the ex-leader.

Strategic Positioning

This left Mowaa in a delicate position: maintaining a clear stance on restitution while being careful on guardianship – and highlighting its broader vision, which led to|c