Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of local power politics during the week it was supposed to – but did not manage – to open its doors to the visitors for the initial occasion.
The Grand Vision
The six-hectare facility sits in the heart of the Edo state capital, capital of the southern state of Edo – and includes an archaeological dig and structures planned by celebrated dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.
It has been half a decade in the development – and is planned to celebrate both the history and the present of creativity in the locale known for the historic artworks, artworks looted from the city's royal palace by British troops in the 1800s.
Setup and Prospects
It is remarkable – and ahead of the scheduled opening, Mowaa was active with staff resolved to demonstrate it is a place that can compete with renowned art institutions in the West.
Internally art restorers precisely opened artworks from safety materials, inspecting each artifact and taking detailed records before arranging them on walls and stands.
Technicians calibrated temperature regulation systems. In the scientific facility, personnel calibrated equipment designed to preserve centuries-old artefacts.
Funding and Economic Goals
The project has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's managing director.
"I hope us to have a major economic benefit on communities around here," he stated to journalists, noting that he aspired to make the city "an arts hub."
Mowaa, a charitable local organization, sees itself establishing over 30,000 work positions and providing more than $80m annually to the local cultural industry through alliances and events.
Funding Sources and Political Challenges
It has taken $25m to get here – capital gathered from different supporters, featuring the European governments, the London institution and the local administration.
But currently the regional administration has pulled the rug from below it – revoking the occupancy of the site on which the museum was built.
An government communicator explained this was because in the initial documents it had called itself the Edo-named institution – and it had subsequently removed "the regional name" from its designation.
Unrest and Official Response
This statement followed rallies on the weekend, when protesters invaded the facility demanding it be named the Royal Benin Museum.
A disruptive group confronted foreign guests at the museum prior to the opening – forcing them to be escorted out under official guard.
National leader Bola Tinubu has also become involved to work to address the dispute, establishing a high-level committee to address the controversy.
Governance Issues
But how has this become so politicised – and such a public relations crisis?
Much of it results from internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the initiative.
And it appears the leadership of the recently elected official, a key associate of the local traditional ruler, known as the royal figure, may desire increased control in the venture. The demonstrators on that day, for example, were demanding that the facility be positioned under the authority of the current Oba.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the historical artworks, one of the region's most renowned artistic heritage.
Because although the museum does eventually begin operations, these objects will be noticeably missing.
They are metal, ivory and wooden artworks that once decorated the royal palace of the historical empire before colonial troops looted them in the colonial era during a military operation.
Today, numerous stay spread across museums in Western nations -- including the British Museum, European center and the New York institution.
Restitution Efforts
Their homecoming has become one of the most debated conversations in the international art community. Roughly 150 have currently made their way home – and further are due to follow.
When proposals for the facility in the urban center were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art campus to display them to the international community.
But the waters were muddied some time back after the central administration stated that the Oba would be the proper guardian of repatriated artifacts – and the palace advocated for a facility under the king's authority, contrary to the desires of the ex-leader.
Political Navigation
This placed Mowaa in a delicate position: asserting a clear stance on repatriation while being careful on custodianship – and stressing its broader vision, which led to|c
