Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the week it was expected to – but was unable – to begin operations to the public for the very first time.
The Grand Vision
The large-scale facility is located in the center of Benin City, capital of the southern state of Edo – and includes an excavation site and structures planned by high-profile British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.
It has been five years in the making – and is designed to celebrate both the past and the current era of artistic expression in the region renowned for the historic artworks, historical pieces stolen from the king's palace by British soldiers in the 1800s.
Preparation and Promise
It is impressive – and before the scheduled opening, Mowaa was buzzing with employees determined to prove it is a venue that can match renowned museums and galleries in the West.
Internally art restorers carefully unwrapped cultural items from protective packaging, checking each piece and taking thorough documentation before placing them on exhibition areas and bases.
Technicians fine-tuned environmental controls. In the materials science laboratory, staff members set up devices designed to preserve centuries-old items.
Funding and Economic Goals
The project has been the brainchild of businessman Phillip Ihenacho – currently Mowaa's managing director.
"I aim us to have a substantial economic impact on communities in the vicinity," he stated to journalists, mentioning that he wanted to make the city "an arts hub."
Mowaa, a not-for-profit Nigerian institution, sees itself establishing in excess of 30,000 direct and indirect jobs and adding over $80m each year to the local cultural industry through partnerships and events.
Investment and Administrative Problems
It has required $25m to get here – money collected from multiple contributors, such as the European governments, the British Museum and the local administration.
But now the state authorities has pulled the rug from under it – revoking the use of the land on which the museum was built.
An official representative explained this was because in the initial documents it had identified as EMOWAA – and it had subsequently eliminated "the regional name" from its name.
Demonstrations and Government Action
This statement was preceded by protests on the weekend, when people entered the facility calling for it be named the Museum of the Benin Kingdom.
A disruptive assembly harassed foreign guests at the facility prior to the inauguration – compelling them to be escorted out under official guard.
National leader Bola Tinubu has additionally intervened to attempt to settle the tensions, establishing a high-level committee to address the controversy.
Administrative Challenges
But in what way has this become so controversial – and such a public relations crisis?
Much of it results from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a major backer of the initiative.
And it seems the government of the new governor, a close ally of the area king, called the Oba, may desire more of a stake in the venture. The protesters on Sunday, for instance, were demanding that the museum be placed under the control of the royal leader.
The Historical Objects Discussion
This brings into focus the controversial matter of the historical artworks, one of the continent's most renowned cultural treasures.
Because although the museum does finally begin operations, these objects will be noticeably missing.
They are metal, elephant tusk and wooden artworks that once adorned the king's residence of the Benin Kingdom before colonial troops stole them in the colonial era during a punitive expedition.
Nowadays, many remain spread across museums in the West -- featuring the London museum, European center and the New York institution.
Return Initiatives
Their homecoming has become one of the most contested discussions in the global art world. Approximately 150 have currently made their way home – and more are expected to return.
When proposals for the facility in Benin City were originally proposed in 2019, the key players on Nigeria's art scene expected it would become their natural home – a state-of-the-art campus to exhibit them to the world.
But the waters were muddied recently after the national authorities stated that the royal leader would be the proper guardian of returned objects – and the palace advocated for a facility under the king's authority, contrary to the desires of Obaseki.
Strategic Positioning
This left Mowaa in a difficult situation: asserting a clear stance on restitution while staying tactful on ownership – and emphasising its wider mission, which led to|c
