🔗 Share this article

The nation's impressive new Museum of West African Art (Mowaa) has ended up in the middle of regional political struggles during the period it was scheduled to – but failed – to begin operations to the visitors for the first time.

The Major Initiative

The large-scale facility sits in the center of the Edo state capital, capital of the southern region of Edo – and includes an excavation site and buildings planned by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been 60 months in the development – and is envisioned to honor both the past and the current era of cultural innovation in the region renowned for the Benin Bronzes, historical pieces taken from the city's royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is notable – and prior to the scheduled opening, Mowaa was energetic with staff committed to show it is a venue that can match established museums and galleries in the West.

Inside preservation experts carefully unwrapped artworks from protective packaging, examining each artifact and taking meticulous notes before positioning them on walls and stands.

Technicians fine-tuned environmental controls. In the scientific facility, staff members calibrated instruments intended to preserve centuries-old objects.

Financial Backing and Economic Vision

The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I hope us to have a substantial economic impact on communities around here," he told journalists, mentioning that he aspired to make Benin City "an arts hub."

Mowaa, a not-for-profit local organization, envisions itself creating over 30,000 work positions and providing more than $80m annually to the local cultural industry through collaborations and events.

Investment and Administrative Problems

It has needed $25m to reach this point – funds raised from different donors, such as the international partners, the UK museum and the Edo state government.

But currently the local government has withdrawn support from under it – canceling the use of the site on which the building was erected.

An government communicator clarified this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had since dropped "the state identifier" from its designation.

Protests and Political Intervention

This declaration followed rallies on recently, when activists entered the complex demanding it be named the Royal Benin Museum.

A rowdy crowd confronted international visitors at the facility ahead of the launch – compelling them to be hurried away under police escort.

National leader Bola Tinubu has also stepped in to work to address the tensions, creating a presidential committee to address the controversy.

Governance Issues

But in what way has this turned into so divisive – and such a PR disaster?

A great deal of it stems from internecine rivalries at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the project.

And it looks like the administration of the recently elected official, a close ally of the area king, known as the traditional leader, may desire greater involvement in the venture. The protesters on the weekend, for instance, were demanding that the facility be positioned under the supervision of the current Oba.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the historical artworks, one of the region's most celebrated cultural treasures.

Because even if the facility does ultimately open, these objects will be conspicuously absent.

They are brass, ivory and wooden artworks that once adorned the king's residence of the Benin Kingdom before UK forces looted them in the late nineteenth century during a military operation.

Nowadays, thousands continue to be scattered across museums in the West -- including the London museum, European center and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most debated discussions in the international art community. Approximately 150 have now made their way home – and more are expected to return.

When proposals for the institution in the urban center were originally proposed in 2019, the key players on the country's cultural sector expected it would become their natural home – a modern campus to exhibit them to the international community.

But the issues became confused some time back after the central administration announced that the royal leader would be the proper guardian of repatriated artifacts – and the palace pushed for a institution under the monarch's supervision, opposing the preferences of the former governor.

Strategic Positioning

This left Mowaa in a challenging circumstance: maintaining a clear stance on return while remaining diplomatic on guardianship – and stressing its larger purpose, which led to|c