🔗 Share this article

Nigeria's remarkable new West African Art Museum (Mowaa) has found itself in the center of local power politics during the period it was scheduled to – but was unable – to open its doors to the public for the very first time.

The Ambitious Project

The 15-acre campus stands in the core of Benin City, main city of the southern state of Edo – and includes an archaeological dig and structures planned by high-profile dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that opened in the US capital in 2016.

It has been five years in the development – and is envisioned to honor both the heritage and the current era of cultural innovation in the region renowned for the cultural artifacts, cultural objects taken from the royal palace by UK forces in the 1800s.

Setup and Prospects

It is impressive – and ahead of the planned opening, Mowaa was buzzing with employees determined to demonstrate it is a place that can match renowned art institutions in the Western world.

Inside conservators precisely revealed artworks from safety materials, inspecting each piece and taking thorough records before positioning them on display surfaces and plinths.

Experts calibrated environmental controls. In the materials science laboratory, officers calibrated devices meant to maintain ancient objects.

Financial Backing and Economic Vision

The project has been the idea of investor Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a major economic benefit on local residents in this region," he explained to media outlets, mentioning that he aspired to make the city "a tourism center."

Mowaa, a not-for-profit Nigerian institution, sees itself generating over 30,000 employment opportunities and contributing over $80m annually to the area arts sector through collaborations and events.

Financial Support and Government Issues

It has taken $25m to get here – funds collected from various supporters, featuring the French and German governments, the UK museum and the local administration.

But currently the regional administration has withdrawn support from beneath it – terminating the occupancy of the site on which the building was erected.

An Edo state spokesperson explained this was because in the initial documents it had called itself the Edo-named institution – and it had later removed "Edo" from its name.

Unrest and Official Response

This declaration followed demonstrations on the weekend, when activists invaded the complex insisting it be called the Benin Royal Museum.

A disruptive group insulted overseas dignitaries at the venue before the inauguration – forcing them to be hurried away under security protection.

Head of state Bola Tinubu has also intervened to work to address the tensions, establishing a presidential committee to manage the situation.

Governance Issues

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

Much of it results from internal conflicts at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the project.

And it looks like the government of the recently elected official, a strong supporter of the regional monarch, referred to as the traditional leader, may seek increased control in the initiative. The protesters on Sunday, for case, were demanding that the museum be placed under the authority of the royal leader.

The Historical Objects Discussion

This highlights the contentious issue of the historical artworks, one of the region's most famous cultural treasures.

Because although the institution does finally begin operations, these objects will be conspicuously absent.

They are metal, ivory and wooden artworks that once decorated the king's residence of the Benin Kingdom before British soldiers took them in 1897 during a military operation.

Nowadays, thousands stay distributed across institutions in the West -- such as the UK institution, 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 come back – and further are expected to return.

When ideas for the museum in the urban center were first announced in 2019, the influential figures on the country's cultural sector anticipated it would become their ideal location – a modern facility to show them off to the world.

But the situation became complicated some time back after the central administration declared that the royal leader would be the legal custodian of repatriated artifacts – and the royal household campaigned for a museum under the royal family's direct control, against the wishes of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a clear stance on repatriation while staying tactful on custodianship – and stressing its wider mission, which led to|c