🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the week it was expected to – but did not manage – to welcome visitors to the public for the very first time.

The Grand Vision

The 15-acre complex stands in the center of Benin City, main city of the southern region of Edo – and contains an excavation site and buildings planned by celebrated dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been five years in the making – and is designed to honor both the history and the present of artistic expression in the region famous for the cultural artifacts, artworks taken from the city's royal palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and prior to the planned opening, Mowaa was active with staff committed to prove it is a place that can match well-known art institutions in the Western world.

Inside conservators carefully unwrapped art pieces from safety materials, inspecting each artifact and taking thorough records before positioning them on exhibition areas and plinths.

Specialists adjusted environmental controls. In the research lab, personnel set up devices designed to conserve historical artefacts.

Financial Backing and Economic Vision

The initiative has been the concept of businessman Phillip Ihenacho – now Mowaa's chief executive.

"I aim us to have a significant economic impact on local residents in the vicinity," he told media outlets, mentioning that he aspired to make this urban center "a cultural destination."

Mowaa, a charitable Nigerian institution, aims at generating more than 30,000 work positions and adding above $80m each year to the local cultural industry through partnerships and activities.

Financial Support and Government Issues

It has needed $25m to achieve this stage – money collected from various contributors, including the international partners, the British Museum and the Edo state government.

But at present the local government has revoked permission from under it – canceling the utilization of the site on which the facility was constructed.

An official representative clarified this was because in the original paperwork it had referred to itself as EMOWAA – and it had subsequently removed "Edo" from its title.

Protests and Political Intervention

This statement followed demonstrations on recently, when protesters stormed the complex insisting it be named the Benin Royal Museum.

A boisterous group confronted foreign guests at the venue ahead of the inauguration – compelling them to be quickly removed under police escort.

Head of state Bola Tinubu has additionally intervened to try and resolve the conflict, creating a special task force to do some damage control.

Governance Issues

But in what way has this turned into so politicised – and such a PR disaster?

The majority of it results from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a major backer of the initiative.

And it looks like the leadership of the new governor, a key associate of the local traditional ruler, referred to as the traditional leader, may seek greater involvement in the initiative. The demonstrators on Sunday, for instance, were insisting that the museum be put under the control of the royal leader.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most famous historical legacy.

Because though the institution does eventually welcome visitors, these objects will be conspicuously absent.

They are metal, elephant tusk and wooden sculptures that once embellished the monarch's home of the ancient kingdom before UK forces looted them in 1897 during a punitive expedition.

Nowadays, thousands stay distributed across galleries in Europe and North America -- such as the London museum, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

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

When plans for the facility in the city were initially revealed in 2019, the influential figures on the country's cultural sector hoped it would become their ideal location – a state-of-the-art complex to exhibit them to the global audience.

But the situation became complicated two years ago after the central administration declared that the royal leader would be the rightful owner of repatriated artifacts – and the royal household pushed for a facility under the monarch's supervision, against the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: expressing a specific viewpoint on repatriation while staying tactful on custodianship – and highlighting its broader vision, which led to|c