🔗 Share this article

Nigeria's impressive new Museum of West African Art (Mowaa) has ended up in the crosshairs of area political conflicts during the period it was scheduled to – but was unable – to welcome visitors to the public for the initial occasion.

The Grand Vision

The 15-acre facility is located in the core of Benin's urban center, capital of the southern region of Edo – and features an archaeological dig and buildings planned by renowned Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in the US capital in 2016.

It has been 60 months in the making – and is planned to celebrate both the heritage and the current era of artistic expression in the area known for the historic artworks, artworks taken from the king's palace by UK forces in the 19th Century.

Readiness and Potential

It is notable – and before the anticipated opening, Mowaa was buzzing with employees resolved to show it is a place that can rival established museums and galleries in the Western world.

Within conservators precisely unwrapped cultural items from secure wrapping, examining each item and taking meticulous documentation before arranging them on exhibition areas and plinths.

Specialists adjusted environmental controls. In the materials science laboratory, officers calibrated instruments designed to preserve centuries-old artefacts.

Funding and Economic Goals

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

"I want us to have a significant economic impact on local residents in the vicinity," he stated to journalists, noting that he aspired to make this urban center "a tourism center."

Mowaa, a non-profit local organization, envisions itself generating over 30,000 employment opportunities and providing more than $80m per year to the regional creative economy through alliances and activities.

Financial Support and Government Issues

It has taken $25m to achieve this stage – money collected from various supporters, including the international partners, the British Museum and the regional authorities.

But at present the state authorities has withdrawn support from under it – terminating the occupancy of the property on which the building was erected.

An official representative explained this was because in the initial documents it had called itself Edo Museum of West African Art – and it had since dropped "the regional name" from its designation.

Protests and Political Intervention

This statement followed rallies on the weekend, when activists entered the facility demanding it be called the Museum of the Benin Kingdom.

A boisterous crowd confronted foreign guests at the facility ahead of the opening – requiring them to be quickly removed under police escort.

Head of state Bola Tinubu has even stepped in to try and resolve the dispute, establishing a presidential committee to address the controversy.

Administrative Challenges

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

A great deal of it comes down to local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a primary advocate of the initiative.

And it seems the administration of the new governor, a key associate of the regional monarch, known as the Oba, may seek greater involvement in the venture. The protesters on Sunday, for case, were demanding that the institution be put under the authority of the current Oba.

The Historical Objects Discussion

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

Because even if the institution does ultimately open, these artifacts will be clearly not present.

They are metal, elephant tusk and timber artworks that once adorned the monarch's home of the Benin Kingdom before British soldiers took them in 1897 during a military operation.

Nowadays, many remain spread across institutions in the West -- featuring the UK institution, European center and the American museum.

Return Initiatives

Their repatriation has become one of the most debated debates in the global art world. About 150 have currently made their way home – and further are due to follow.

When ideas 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 perfect venue – a modern campus to show them off to the international community.

But the waters were muddied two years ago after the national authorities stated that the royal leader would be the rightful owner of repatriated artifacts – and the monarch's court advocated for a institution under the monarch's supervision, against the desires of the former governor.

Diplomatic Challenges

This left Mowaa in a difficult situation: maintaining a clear stance on return while being careful on ownership – and highlighting its broader vision, which led to|c