Nigeria's remarkable new Museum of West African Art (Mowaa) has landed in the middle of regional political struggles during the period it was expected to – but failed – to begin operations to the general public for the very first time.
The Grand Vision
The six-hectare campus is located in the core of Benin's urban center, capital of the southern state of Edo – and contains an archaeological dig and buildings created by renowned dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington in 2016.
It has been 60 months in the creation – and is envisioned to showcase both the past and the modern times of artistic expression in the region known for the cultural artifacts, artworks looted from the king's palace by UK forces in the 1800s.
Setup and Prospects
It is notable – and before the scheduled opening, Mowaa was buzzing with staff committed to prove it is a institution that can compete with established museums and galleries in the Europe and America.
Within preservation experts carefully unwrapped cultural items from protective packaging, inspecting each piece and taking thorough records before placing them on exhibition areas and bases.
Experts calibrated temperature regulation systems. In the research lab, personnel adjusted instruments designed to conserve historical items.
Funding and Economic Goals
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – presently Mowaa's chief executive.
"I aim us to have a substantial economic impact on communities in this region," he told media outlets, noting that he hoped to make Benin City "an arts hub."
Mowaa, a charitable local organization, sees itself creating over 30,000 direct and indirect jobs and providing above $80m each year to the local cultural industry through collaborations and programming.
Investment and Administrative Problems
It has needed $25m to achieve this stage – money collected from multiple contributors, featuring the international partners, the London institution and the regional authorities.
But at present the regional administration has withdrawn support from under it – terminating the occupancy of the property on which the building was erected.
An government communicator stated this was because in the early agreements it had identified as EMOWAA – and it had subsequently removed "the state identifier" from its name.
Unrest and Official Response
This announcement was preceded by protests on Sunday, when activists stormed the facility insisting it be designated the Royal Benin Museum.
A boisterous crowd confronted foreign guests at the venue before the opening – requiring them to be quickly removed under police escort.
Head of state Bola Tinubu has even stepped in to attempt to settle the conflict, setting up a special task force to do some damage control.
Governance Issues
But how has this turned into so divisive – and such a reputation problem?
The majority of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration ended the previous year – who was a primary advocate of the project.
And it seems the leadership of the current leader, a close ally of the area king, referred to as the royal figure, may seek increased control in the initiative. The protesters on Sunday, for example, were demanding that the museum be positioned under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the cultural artifacts, one of the region's most celebrated artistic heritage.
Because even if the museum does ultimately begin operations, these bronzes will be conspicuously absent.
They are brass, ivory and wooden sculptures that once embellished the monarch's home of the Benin Kingdom before British soldiers stole them in the colonial era during a punitive expedition.
Currently, many remain scattered across institutions in Europe and North America -- such as the London museum, Berlin's Humboldt Forum and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most debated discussions in the global art world. Approximately 150 have now made their way home – and further are due to follow.
When plans for the institution in Benin City were initially revealed in recent years, the influential figures on Nigeria's art scene anticipated it would become their perfect venue – a state-of-the-art facility to show them off to the global audience.
But the waters were muddied two years ago after the federal government declared that the royal leader would be the rightful owner of repatriated artifacts – and the monarch's court campaigned for a facility under the royal family's direct control, opposing the desires of Obaseki.
Strategic Positioning
This placed Mowaa in a challenging circumstance: asserting a clear stance on return while remaining diplomatic on ownership – and highlighting its broader vision, which led to|c
