🔗 Share this article

Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the week it was supposed to – but did not manage – to welcome visitors to the general public for the initial occasion.

The Grand Vision

The large-scale facility sits in the center of the Edo state capital, capital of the southern region of Edo – and features an excavation site and structures planned by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been half a decade in the making – and is envisioned to honor both the history and the current era of artistic expression in the area famous for the cultural artifacts, historical pieces stolen from the royal palace by British soldiers in the 1800s.

Setup and Prospects

It is notable – and before the scheduled opening, Mowaa was energetic with employees committed to prove it is a institution that can rival established museums and galleries in the Western world.

Internally art restorers precisely opened art pieces from protective packaging, checking each item and taking thorough records before arranging them on display surfaces and bases.

Specialists adjusted temperature regulation systems. In the materials science laboratory, staff members calibrated equipment designed to maintain historical objects.

Investment and Economic Plans

The venture has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I hope us to have a significant economic benefit on area populations in this region," he explained to the press, noting that he hoped to make Benin City "a cultural destination."

Mowaa, a non-profit Nigerian institution, sees itself establishing over 30,000 employment opportunities and adding over $80m per year to the area arts sector through partnerships and events.

Investment and Administrative Problems

It has taken $25m to get here – funds raised from various contributors, such as the French and German governments, the British Museum and the local administration.

But at present the state authorities has withdrawn support from below it – revoking the use of the land on which the facility was constructed.

An Edo state spokesperson clarified this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "Edo" from its name.

Unrest and Official Response

This declaration followed rallies on recently, when protesters stormed the campus insisting it be called the Museum of the Benin Kingdom.

A disruptive group insulted international visitors at the museum before the launch – requiring them to be hurried away under security protection.

Head of state Bola Tinubu has also intervened to work to address the dispute, establishing a high-level committee to address the controversy.

Governance Issues

But in what way has this turned into so divisive – and such a reputation problem?

A great deal of it results from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose governance finished recently – who was a key supporter of the project.

And it appears the leadership of the current leader, a strong supporter of the area king, referred to as the traditional leader, may want greater involvement in the initiative. The demonstrators on that day, for case, were calling for that the institution be placed under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the contentious issue of the cultural artifacts, one of Africa's most renowned historical legacy.

Because though the institution does ultimately open, these artifacts will be noticeably missing.

They are metal, elephant tusk and timber sculptures that once adorned the royal palace of the ancient kingdom before British soldiers looted them in the colonial era during a military operation.

Nowadays, thousands stay distributed across galleries in Western nations -- including the London museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most contested discussions in the international art community. About 150 have now come back – and more are due to follow.

When ideas for the facility in the city were initially revealed in the pre-pandemic era, the influential figures on the national arts community anticipated it would become their perfect venue – a state-of-the-art complex to show them off to the global audience.

But the issues became confused recently after the national authorities declared that the royal leader would be the rightful owner of any returned bronzes – and the royal household campaigned for a institution under the king's authority, against the wishes of the ex-leader.

Diplomatic Challenges

This left Mowaa in a delicate position: maintaining a specific viewpoint on repatriation while staying tactful on custodianship – and stressing its wider mission, which led to|c