🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the period it was expected to – but failed – to begin operations to the general public for the first time.

The Grand Vision

The 15-acre facility sits in the core of Benin City, administrative center of the southern area of Edo – and features an excavation site and buildings planned by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is planned to honor both the heritage and the present of artistic expression in the area famous for the Benin Bronzes, artworks taken from the city's royal palace by British troops in the 1800s.

Readiness and Potential

It is remarkable – and before the anticipated opening, Mowaa was energetic with workers determined to show it is a place that can rival well-known cultural centers in the Western world.

Within preservation experts precisely revealed artworks from protective packaging, inspecting each piece and taking meticulous notes before positioning them on exhibition areas and plinths.

Specialists calibrated climate control systems. In the materials science laboratory, personnel adjusted devices meant to conserve centuries-old items.

Financial Backing and Economic Vision

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

"I want us to have a significant economic impact on area populations in the vicinity," he stated to the press, noting that he hoped to make this urban center "an arts hub."

Mowaa, a non-profit Nigerian institution, sees itself establishing over 30,000 direct and indirect jobs and contributing over $80m per year to the regional creative economy through partnerships and events.

Financial Support and Government Issues

It has needed $25m to achieve this stage – capital raised from different contributors, including the European governments, the UK museum and the regional authorities.

But currently the state authorities has revoked permission from under it – terminating the occupancy of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the initial documents it had called itself EMOWAA – and it had subsequently dropped "Edo" from its name.

Demonstrations and Government Action

This declaration was preceded by demonstrations on Sunday, when activists entered the complex calling for it be called the Benin Royal Museum.

A rowdy group harassed international visitors at the museum ahead of the launch – requiring them to be hurried away under official guard.

National leader Bola Tinubu has even intervened to attempt to settle the conflict, setting up a high-level committee to do some damage control.

Administrative Challenges

But how has this evolved into so politicised – and such a reputation problem?

A great deal of it results from local power struggles at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the initiative.

And it seems the government of the current leader, a close ally of the area king, called the royal figure, may want increased control in the initiative. The activists on that day, for example, were demanding that the facility be placed under the authority of Oba Ewuare II.

The Benin Bronzes Controversy

This emphasizes the contentious issue of the Benin Bronzes, one of the region's most renowned historical legacy.

Because even if the institution does ultimately begin operations, these objects will be clearly not present.

They are metal, ivory and timber sculptures that once decorated the monarch's home of the historical empire before colonial troops looted them in the late nineteenth century during a colonial invasion.

Today, thousands remain distributed across museums in the West -- featuring the UK institution, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their return has become one of the most debated discussions in the worldwide cultural sector. Approximately 150 have now come back – and more are expected to return.

When plans for the institution in Benin City were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their natural home – a advanced complex to exhibit them to the international community.

But the issues became confused two years ago after the national authorities announced that the traditional ruler would be the rightful owner of any returned bronzes – and the royal household pushed for a institution under the monarch's supervision, contrary to the preferences of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a delicate position: asserting a clear stance on restitution while remaining diplomatic on custodianship – and stressing its wider mission, which led to|c