🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has landed in the center of regional political struggles during the period it was supposed to – but was unable – to begin operations to the general public for the initial occasion.

The Ambitious Project

The six-hectare campus is located in the center of Benin's urban center, administrative center of the southern area of Edo – and features an excavation site and structures created by high-profile British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington in 2016.

It has been five years in the creation – and is envisioned to celebrate both the history and the present of artistic expression in the area famous for the historic artworks, historical pieces stolen from the city's royal palace by British troops in the 1800s.

Preparation and Promise

It is impressive – and prior to the scheduled opening, Mowaa was active with staff resolved to prove it is a venue that can compete with renowned cultural centers in the West.

Internally preservation experts meticulously opened cultural items from safety materials, checking each artifact and taking meticulous documentation before placing them on exhibition areas and plinths.

Experts calibrated climate control systems. In the research lab, personnel calibrated devices designed to maintain historical artefacts.

Funding and Economic Goals

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

"I aim us to have a substantial economic benefit on area populations around here," he explained to journalists, adding that he hoped to make Benin City "a tourism center."

Mowaa, a non-profit Nigerian institution, sees itself creating over 30,000 employment opportunities and adding over $80m per year to the local cultural industry through partnerships and activities.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – money gathered from multiple donors, including the international partners, the British Museum and the Edo state government.

But currently the local government has pulled the rug from beneath it – terminating the use of the site on which the building was erected.

An Edo state spokesperson explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had later dropped "the state identifier" from its designation.

Protests and Political Intervention

This statement followed demonstrations on recently, when activists entered the facility calling for it be named the Royal Benin Museum.

A disruptive group harassed overseas dignitaries at the facility before the inauguration – compelling them to be hurried away under police escort.

National leader Bola Tinubu has also become involved to attempt to settle the conflict, establishing a high-level committee to address the controversy.

Governance Issues

But in what way has this evolved into so divisive – and such a reputation problem?

A great deal of it stems from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office finished last year – who was a primary advocate of the project.

And it appears the government of the new governor, a strong supporter of the local traditional ruler, known as the traditional leader, may want more of a stake in the project. The demonstrators on Sunday, for case, were insisting that the facility be put under the supervision of the royal leader.

The Benin Bronzes Controversy

This highlights the controversial matter of the historical artworks, one of Africa's most renowned cultural treasures.

Because although the institution does ultimately begin operations, these bronzes will be noticeably missing.

They are metal, ivory and timber artworks that once decorated the royal palace of the ancient kingdom before British soldiers took them in the colonial era during a colonial invasion.

Nowadays, many continue to be spread across galleries in the West -- featuring the British Museum, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most contested conversations in the international art community. Roughly 150 have currently made their way home – and additional are due to follow.

When plans for the facility in the city were initially revealed in the pre-pandemic era, the key players on the national arts community expected it would become their perfect venue – a state-of-the-art facility to display them to the global audience.

But the situation became complicated some time back after the national authorities stated that the Oba would be the rightful owner of returned objects – and the royal household campaigned for a museum under the king's authority, opposing the preferences of the ex-leader.

Strategic Positioning

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