🔗 Share this article

The nation's remarkable new West African Art Museum (Mowaa) has found itself in the center of local power politics during the time it was expected to – but failed – to open its doors to the public for the first time.

The Grand Vision

The large-scale campus stands in the center of Benin City, administrative center of the southern region of Edo – and features an historical dig and structures created by renowned British-Ghanaian architect Sir David Adjaye, best known 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 envisioned to showcase both the heritage and the modern times of cultural innovation in the region known for the Benin Bronzes, historical pieces looted from the city's royal palace by British soldiers in the 1800s.

Preparation and Promise

It is remarkable – and prior to the anticipated opening, Mowaa was energetic with workers resolved to show it is a venue that can rival well-known museums and galleries in the West.

Inside preservation experts carefully opened artworks from safety materials, examining each item and taking thorough records before arranging them on walls and bases.

Experts calibrated temperature regulation systems. In the research lab, staff members calibrated devices intended to conserve historical items.

Investment and Economic Plans

The project has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.

"I want us to have a significant financial effect on local residents around here," he stated to journalists, mentioning that he hoped to make this urban center "a tourism center."

Mowaa, a not-for-profit local organization, aims at generating over 30,000 work positions and providing above $80m per year to the regional creative economy through collaborations and programming.

Financial Support and Government Issues

It has required $25m to reach this point – capital gathered from multiple supporters, including the French and German governments, the UK museum and the regional authorities.

But at present the regional administration has pulled the rug from beneath it – canceling the occupancy of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently dropped "Edo" from its designation.

Demonstrations and Government Action

This announcement followed protests on recently, when protesters stormed the facility insisting it be designated the Benin Royal Museum.

A disruptive group confronted international visitors at the venue prior to the inauguration – forcing them to be escorted out under official guard.

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

Political Complexities

But how has this become so divisive – and such a reputation problem?

A great deal of it comes down to local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose governance finished last year – who was a key supporter of the project.

And it looks like the administration of the current leader, a strong supporter of the area king, referred to as the royal figure, may want more of a stake in the project. The demonstrators on that day, for example, were calling for that the facility be placed under the supervision of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the disputed topic of the historical artworks, one of the region's most celebrated artistic heritage.

Because although the facility does ultimately begin operations, these bronzes will be clearly not present.

They are metal, ivory and timber carvings that once embellished the royal palace of the ancient kingdom before British soldiers looted them in the colonial era during a punitive expedition.

Today, numerous remain distributed across museums in the West -- such as the London museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their repatriation has become one of the most disputed debates in the international art community. Roughly 150 have currently been returned – and further are expected to return.

When ideas for the museum in the city were originally proposed in recent years, the key players on the country's cultural sector expected it would become their natural home – a advanced campus to display them to the global audience.

But the waters were muddied two years ago after the federal government announced that the traditional ruler would be the rightful owner of returned objects – and the palace pushed for a museum under the monarch's supervision, opposing the wishes of Obaseki.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a definite position on restitution while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c