The nation's impressive new Museum of West African Art (Mowaa) has landed in the center of regional political struggles during the period it was expected to – but did not manage – to begin operations to the public for the very first time.
The Major Initiative
The large-scale complex stands in the center of Benin City, capital of the southern region of Edo – and contains an archaeological dig and structures planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.
It has been five years in the making – and is planned to honor both the past and the current era of cultural innovation in the area famous for the historic artworks, cultural objects stolen from the king's palace by UK forces in the 19th Century.
Setup and Prospects
It is remarkable – and prior to the planned opening, Mowaa was active with staff committed to prove it is a place that can match well-known art institutions in the Europe and America.
Inside conservators meticulously unwrapped art pieces from secure wrapping, examining each artifact and taking detailed notes before positioning them on walls and plinths.
Specialists calibrated temperature regulation systems. In the materials science laboratory, staff members adjusted instruments intended to conserve centuries-old artefacts.
Funding and Economic Goals
The venture has been the brainchild of businessman Phillip Ihenacho – now Mowaa's managing director.
"I want us to have a significant economic benefit on communities around here," he told the press, noting that he hoped to make Benin City "a cultural destination."
Mowaa, a non-profit local organization, envisions itself establishing more than 30,000 direct and indirect jobs and adding more than $80m annually to the regional creative economy through partnerships and activities.
Financial Support and Government Issues
It has taken $25m to achieve this stage – money raised from multiple donors, featuring the international partners, the UK museum and the regional authorities.
But at present the regional administration has pulled the rug from under it – revoking the use of the site on which the facility was constructed.
An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had later dropped "Edo" from its designation.
Unrest and Official Response
This statement followed rallies on recently, when protesters stormed the campus calling for it be called the Benin Royal Museum.
A disruptive crowd harassed overseas dignitaries at the venue ahead of the opening – requiring them to be hurried away under security protection.
National leader Bola Tinubu has even intervened to try and resolve the tensions, setting up a presidential committee to manage the situation.
Governance Issues
But why has this turned into so divisive – and such a reputation problem?
Much of it comes down to internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended last year – who was a major backer of the museum.
And it looks like the administration of the current leader, a strong supporter of the local traditional ruler, called the royal figure, may seek more of a stake in the venture. The activists on Sunday, for example, were insisting that the facility be put under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the historical artworks, one of the continent's most celebrated cultural treasures.
Because though the facility does ultimately open, these bronzes will be noticeably missing.
They are brass, elephant tusk and wooden artworks that once decorated the king's residence of the historical empire before colonial troops stole them in the late nineteenth century during a military operation.
Nowadays, thousands continue to be distributed across museums in Europe and North America -- including the London museum, European center and the Metropolitan Museum of Art.
Restitution Efforts
Their repatriation has become one of the most contested debates in the global art world. Roughly 150 have currently made their way home – and more are due to follow.
When plans for the institution in the city were first announced in 2019, the movers and shakers on the country's cultural sector anticipated it would become their natural home – a state-of-the-art facility to show them off to the international community.
But the waters were muddied recently after the central administration announced that the Oba would be the proper guardian of any returned bronzes – and the monarch's court pushed for a institution under the monarch's supervision, opposing the wishes of Obaseki.
Strategic Positioning
This left Mowaa in a difficult situation: expressing a clear stance on return while remaining diplomatic on custodianship – and emphasising its broader vision, which led to|c
