Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the middle of regional political struggles during the week it was expected to – but failed – to begin operations to the public for the very first time.
The Ambitious Project
The six-hectare complex sits in the core of Benin City, capital of the southern area of Edo – and includes an excavation site and buildings planned by renowned British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington in 2016.
It has been five years in the development – and is planned to showcase both the heritage and the modern times of creativity in the region famous for the Benin Bronzes, artworks stolen from the city's royal palace by British troops in the 19th Century.
Setup and Prospects
It is impressive – and prior to the scheduled opening, Mowaa was buzzing with workers committed to demonstrate it is a place that can match renowned art institutions in the West.
Internally conservators precisely unwrapped cultural items from safety materials, checking each piece and taking meticulous documentation before placing them on exhibition areas and stands.
Specialists adjusted temperature regulation systems. In the scientific facility, staff members calibrated instruments designed to preserve historical artefacts.
Investment and Economic Plans
The initiative has been the concept of investor Phillip Ihenacho – currently Mowaa's executive director.
"I aim us to have a significant economic benefit on area populations in the vicinity," he explained to the press, mentioning that he aspired to make this urban center "an arts hub."
Mowaa, a charitable Nigerian institution, envisions itself creating more than 30,000 employment opportunities and adding over $80m annually to the regional creative economy through partnerships and activities.
Funding Sources and Political Challenges
It has taken $25m to reach this point – capital collected from various supporters, such as the European governments, the British Museum and the local administration.
But at present the regional administration has pulled the rug from below it – revoking the occupancy of the site on which the building was erected.
An Edo state spokesperson explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its name.
Unrest and Official Response
This statement was preceded by rallies on Sunday, when activists invaded the campus calling for it be designated the Museum of the Benin Kingdom.
A disruptive crowd harassed foreign guests at the museum prior to the opening – forcing them to be hurried away under police escort.
National leader Bola Tinubu has additionally intervened to work to address the dispute, creating a high-level committee to address the controversy.
Political Complexities
But how has this become so politicised – and such a PR disaster?
A great deal of it results from internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded last year – who was a key supporter of the museum.
And it appears the government of the new governor, a strong supporter of the area king, referred to as the royal figure, may want more of a stake in the initiative. The protesters on that day, for example, were calling for that the facility be put under the authority of Oba Ewuare II.
The Benin Bronzes Controversy
This highlights the disputed topic of the historical artworks, one of Africa's most celebrated historical legacy.
Because though the museum does ultimately open, these objects will be noticeably missing.
They are metal, ivory and timber artworks that once embellished the king's residence of the ancient kingdom before colonial troops stole them in the colonial era during a punitive expedition.
Nowadays, numerous stay spread across galleries in Europe and North America -- including the British Museum, Berlin's Humboldt Forum and the American museum.
Restitution Efforts
Their homecoming has become one of the most disputed debates in the worldwide cultural sector. Roughly 150 have currently made their way home – and further are scheduled to be repatriated.
When plans for the museum in the city were initially revealed in recent years, the movers and shakers on Nigeria's art scene hoped it would become their perfect venue – a modern facility to show them off to the global audience.
But the waters were muddied two years ago after the national authorities stated that the Oba would be the legal custodian of returned objects – and the royal household pushed for a facility under the king's authority, contrary to the preferences of the ex-leader.
Political Navigation
This left Mowaa in a difficult situation: asserting a clear stance on restitution while remaining diplomatic on guardianship – and highlighting its broader vision, which led to|c
