🔗 Share this article

Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but was unable – to begin operations to the visitors for the very first time.

The Major Initiative

The large-scale campus stands in the center of Benin's urban center, capital of the southern region of Edo – and includes an historical dig and structures planned by celebrated British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been five years in the making – and is planned to honor both the past and the modern times of cultural innovation in the region famous for the Benin Bronzes, cultural objects stolen from the city's royal palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and before the planned opening, Mowaa was energetic with workers determined to demonstrate it is a venue that can compete with well-known cultural centers in the Western world.

Within preservation experts meticulously revealed art pieces from protective packaging, checking each piece and taking thorough documentation before placing them on walls and plinths.

Experts adjusted environmental controls. In the materials science laboratory, personnel set up equipment meant to preserve ancient objects.

Financial Backing and Economic Vision

The initiative has been the brainchild of investor Phillip Ihenacho – now Mowaa's managing director.

"I aim us to have a major economic benefit on communities in this region," he told media outlets, noting that he wanted to make this urban center "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, aims at establishing in excess of 30,000 work positions and adding more than $80m each year to the regional creative economy through partnerships and programming.

Investment and Administrative Problems

It has needed $25m to get here – money gathered from different contributors, such as the international partners, the London institution and the Edo state government.

But at present the state authorities has pulled the rug from beneath it – terminating the utilization of the land on which the facility was constructed.

An government communicator explained this was because in the early agreements it had referred to itself as EMOWAA – and it had since dropped "the state identifier" from its designation.

Demonstrations and Government Action

This declaration followed protests on the weekend, when protesters invaded the campus calling for it be designated the Museum of the Benin Kingdom.

A disruptive assembly harassed foreign guests at the museum ahead of the launch – forcing them to be quickly removed under police escort.

Head of state Bola Tinubu has also stepped in to work to address the tensions, setting up a high-level committee to address the controversy.

Political Complexities

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

Much of it comes down to internecine rivalries 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 appears the administration of the current leader, a strong supporter of the local traditional ruler, called the traditional leader, may want increased control in the initiative. The protesters on that day, for example, were insisting that the facility be placed under the authority of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the controversial matter of the Benin Bronzes, one of the region's most famous historical legacy.

Because though the facility does eventually welcome visitors, these artifacts will be noticeably missing.

They are metal, ivory and timber carvings that once adorned the royal palace of the ancient kingdom before colonial troops took them in the late nineteenth century during a military operation.

Nowadays, thousands stay spread across galleries in Europe and North America -- such as the UK institution, European center and the American museum.

Repatriation Campaigns

Their return has become one of the most contested discussions in the worldwide cultural sector. Approximately 150 have currently been returned – and further are expected to return.

When proposals for the facility in Benin City were initially revealed in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their ideal location – a state-of-the-art complex to exhibit them to the global audience.

But the issues became confused recently after the central administration announced that the Oba would be the proper guardian of returned objects – and the palace advocated for a institution under the king's authority, opposing the desires of the ex-leader.

Political Navigation

This placed Mowaa in a challenging circumstance: asserting a specific viewpoint on repatriation while being careful on guardianship – and highlighting its broader vision, which led to|c