Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the period it was scheduled to – but did not manage – to open its doors to the general public for the first time.
The Major Initiative
The six-hectare campus stands in the core of the Edo state capital, administrative center of the southern area of Edo – and contains an archaeological dig and buildings created by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.
It has been five years in the creation – and is designed to showcase both the heritage and the current era of creativity in the locale known for the Benin Bronzes, historical pieces looted from the king's palace by British soldiers in the 19th Century.
Readiness and Potential
It is impressive – and before the anticipated opening, Mowaa was energetic with staff committed to prove it is a institution that can match well-known museums and galleries in the West.
Within art restorers carefully opened cultural items from secure wrapping, examining each item and taking thorough documentation before positioning them on display surfaces and stands.
Experts calibrated climate control systems. In the research lab, staff members set up devices meant to conserve ancient items.
Financial Backing and Economic Vision
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.
"I want us to have a substantial economic impact on communities in this region," he stated to journalists, mentioning that he aspired to make the city "a cultural destination."
Mowaa, a charitable local organization, sees itself generating over 30,000 direct and indirect jobs and contributing more than $80m annually to the local cultural industry through collaborations and programming.
Investment and Administrative Problems
It has taken $25m to reach this point – funds raised from different donors, such as the French and German governments, the British Museum and the Edo state government.
But currently the local government has withdrawn support from below it – revoking the utilization of the land on which the building was erected.
An official representative explained this was because in the initial documents it had called itself Edo Museum of West African Art – and it had later dropped "the regional name" from its designation.
Protests and Political Intervention
This announcement was preceded by protests on recently, when protesters entered the facility calling for it be designated the Royal Benin Museum.
A disruptive group insulted overseas dignitaries at the facility ahead of the inauguration – compelling them to be quickly removed under security protection.
National leader Bola Tinubu has additionally become involved to attempt to settle the tensions, creating a presidential committee to manage the situation.
Governance Issues
But in what way has this become so divisive – and such a public relations crisis?
A great deal of it results from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the project.
And it seems the government of the new governor, a strong supporter of the local traditional ruler, called the traditional leader, may seek more of a stake in the initiative. The protesters on Sunday, for example, were demanding that the museum be positioned under the supervision of the current Oba.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the Benin Bronzes, one of the region's most celebrated cultural treasures.
Because even if the museum does finally begin operations, these bronzes will be conspicuously absent.
They are brass, elephant tusk and timber artworks that once embellished the royal palace of the Benin Kingdom before colonial troops looted them in the colonial era during a colonial invasion.
Nowadays, thousands remain distributed across institutions in Western nations -- including the UK institution, European center and the Metropolitan Museum of Art.
Repatriation Campaigns
Their repatriation has become one of the most debated conversations in the global art world. Approximately 150 have presently been returned – and more are scheduled to be repatriated.
When ideas for the institution in the city were originally proposed in 2019, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art campus to exhibit them to the world.
But the waters were muddied recently after the central administration declared that the traditional ruler would be the rightful owner of returned objects – and the palace pushed for a facility under the king's authority, opposing the wishes of the ex-leader.
Strategic Positioning
This left Mowaa in a challenging circumstance: expressing a definite position on restitution while staying tactful on guardianship – and emphasising its wider mission, which led to|c
