🔗 Share this article

The nation's stunning new West African Art Museum (Mowaa) has found itself in the center of local power politics during the time it was expected to – but failed – to welcome visitors to the general public for the very first time.

The Major Initiative

The large-scale facility sits in the heart of Benin's urban center, capital of the southern region of Edo – and includes an excavation site and facilities planned by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.

It has been five years in the development – and is planned to honor both the past and the modern times of creativity in the region known for the cultural artifacts, artworks stolen from the city's royal palace by British troops in the nineteenth century.

Preparation and Promise

It is notable – and prior to the anticipated opening, Mowaa was active with workers determined to demonstrate it is a institution that can rival established museums and galleries in the West.

Inside art restorers carefully unwrapped art pieces from safety materials, checking each item and taking meticulous records before arranging them on walls and plinths.

Technicians adjusted climate control systems. In the materials science laboratory, personnel adjusted equipment designed to conserve ancient objects.

Financial Backing and Economic Vision

The initiative has been the concept of entrepreneur Phillip Ihenacho – now Mowaa's managing director.

"I aim us to have a significant economic impact on local residents in this region," he told the press, noting that he hoped to make this urban center "an arts hub."

Mowaa, a non-profit national foundation, sees itself generating more than 30,000 employment opportunities and adding above $80m per year to the area arts sector through alliances and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – funds raised from various donors, including the European governments, the London institution and the local administration.

But now the local government has withdrawn support from below it – terminating the occupancy of the land on which the facility was constructed.

An government communicator explained this was because in the early agreements it had identified as EMOWAA – and it had later eliminated "Edo" from its name.

Demonstrations and Government Action

This announcement came after rallies on Sunday, when activists invaded the facility demanding it be designated the Benin Royal Museum.

A boisterous crowd insulted foreign guests at the museum prior to the launch – compelling them to be quickly removed under police escort.

Head of state Bola Tinubu has additionally stepped in to attempt to settle the tensions, setting up a special task force to address the controversy.

Administrative Challenges

But how has this become so politicised – and such a reputation problem?

Much of it comes down to local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance finished recently – who was a key supporter of the museum.

And it appears the administration of the new governor, a key associate of the local traditional ruler, referred to as the royal figure, may want greater involvement in the project. The protesters on the weekend, for case, were demanding that the facility be put under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This emphasizes the contentious issue of the historical artworks, one of Africa's most celebrated artistic heritage.

Because although the museum does ultimately open, these bronzes will be clearly not present.

They are metal, elephant tusk and wooden sculptures that once decorated the royal palace of the Benin Kingdom before British soldiers took them in 1897 during a punitive expedition.

Currently, numerous remain scattered across museums in Europe and North America -- such as the UK institution, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most contested debates in the global art world. Approximately 150 have presently come back – and additional are scheduled to be repatriated.

When ideas for the institution in Benin City were originally proposed in 2019, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art complex to display them to the international community.

But the waters were muddied recently after the federal government declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace campaigned for a museum under the king's authority, opposing the preferences of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a clear stance on return while staying tactful on ownership – and stressing its broader vision, which led to|c