Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the center of area political conflicts during the period it was scheduled to – but did not manage – to welcome visitors to the general public for the first time.
The Ambitious Project
The six-hectare campus sits in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an excavation site and buildings planned by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington DC in 2016.
It has been half a decade in the making – and is envisioned to celebrate both the past and the present of creativity in the locale known for the Benin Bronzes, historical pieces taken from the royal palace by UK forces in the 1800s.
Preparation and Promise
It is notable – and before the planned opening, Mowaa was buzzing with workers resolved to show it is a venue that can match established art institutions in the West.
Within preservation experts carefully revealed cultural items from protective packaging, examining each artifact and taking thorough records before positioning them on exhibition areas and bases.
Experts adjusted climate control systems. In the research lab, staff members set up equipment meant to conserve historical objects.
Funding and Economic Goals
The project has been the idea of investor Phillip Ihenacho – presently Mowaa's executive director.
"I aim us to have a significant economic impact on area populations in the vicinity," he stated to journalists, noting that he hoped to make this urban center "a cultural destination."
Mowaa, a non-profit Nigerian institution, aims at generating in excess of 30,000 work positions and adding over $80m each year to the local cultural industry through collaborations and events.
Funding Sources and Political Challenges
It has taken $25m to get here – funds raised from various donors, featuring the French and German governments, the London institution and the regional authorities.
But at present the state authorities has revoked permission from under it – terminating the utilization of the property on which the building was erected.
An official representative stated this was because in the original paperwork it had called itself the Edo-named institution – and it had since removed "the state identifier" from its title.
Unrest and Official Response
This announcement was preceded by demonstrations on the weekend, when people invaded the campus demanding it be named the Royal Benin Museum.
A disruptive crowd harassed international visitors at the facility prior to the launch – forcing them to be quickly removed under official guard.
National leader Bola Tinubu has even become involved to attempt to settle the dispute, setting up a high-level committee to address the controversy.
Political Complexities
But why has this evolved into so divisive – and such a reputation problem?
Much of it comes down to local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose governance concluded last year – who was a primary advocate of the museum.
And it seems the administration of the recently elected official, a strong supporter of the local traditional ruler, called the Oba, may desire greater involvement in the project. The protesters on Sunday, for instance, were demanding that the museum be positioned under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This emphasizes the contentious issue of the Benin Bronzes, one of Africa's most famous cultural treasures.
Because although the museum does ultimately welcome visitors, these objects will be noticeably missing.
They are metal, elephant tusk and timber sculptures that once adorned the royal palace of the Benin Kingdom before UK forces looted them in 1897 during a colonial invasion.
Currently, thousands stay spread across galleries in the West -- featuring the UK institution, European center and the American museum.
Return Initiatives
Their return has become one of the most disputed discussions in the worldwide cultural sector. Roughly 150 have presently been returned – and further are expected to return.
When ideas for the museum in the city were first announced in recent years, the movers and shakers on the country's cultural sector expected it would become their perfect venue – a advanced complex to show them off to the world.
But the situation became complicated two years ago after the national authorities declared that the Oba would be the rightful owner of any returned bronzes – and the royal household pushed for a museum under the royal family's direct control, against the wishes of Obaseki.
Diplomatic Challenges
This placed Mowaa in a delicate position: maintaining a clear stance on restitution while remaining diplomatic on guardianship – and stressing its larger purpose, which led to|c
