🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has landed in the crosshairs of local power politics during the time it was supposed to – but did not manage – to open its doors to the visitors for the initial occasion.

The Major Initiative

The six-hectare facility is located in the heart of the Edo state capital, administrative center of the southern state of Edo – and includes an historical dig and buildings planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been half a decade in the development – and is designed to honor both the history and the current era of cultural innovation in the area famous for the historic artworks, artworks stolen from the royal palace by UK forces in the 1800s.

Preparation and Promise

It is impressive – and before the anticipated opening, Mowaa was energetic with staff determined to demonstrate it is a venue that can match renowned cultural centers in the West.

Within art restorers carefully opened cultural items from secure wrapping, checking each item and taking meticulous records before placing them on walls and plinths.

Specialists fine-tuned environmental controls. In the materials science laboratory, personnel set up equipment meant to preserve historical objects.

Financial Backing and Economic Vision

The initiative has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's executive director.

"I aim us to have a significant economic impact on area populations in the vicinity," he explained to the press, mentioning that he aspired to make this urban center "a tourism center."

Mowaa, a not-for-profit national foundation, aims at generating more than 30,000 employment opportunities and contributing more than $80m each year to the area arts sector through partnerships and programming.

Investment and Administrative Problems

It has taken $25m to reach this point – money raised from different supporters, such as the European governments, the UK museum and the regional authorities.

But currently the local government has revoked permission from beneath it – canceling the occupancy of the site on which the building was erected.

An government communicator explained this was because in the early agreements it had called itself EMOWAA – and it had subsequently removed "Edo" from its name.

Unrest and Official Response

This statement came after rallies on the weekend, when protesters stormed the facility demanding it be designated the Royal Benin Museum.

A boisterous crowd insulted international visitors at the museum before the inauguration – requiring them to be quickly removed under police escort.

President Bola Tinubu has even become involved to work to address the tensions, establishing a special task force to manage the situation.

Governance Issues

But why has this become so politicised – and such a public relations crisis?

A great deal of it comes down to internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration finished last year – who was a key supporter of the museum.

And it looks like the government of the recently elected official, a key associate of the local traditional ruler, called the Oba, may seek increased control in the project. The activists on that day, for instance, were calling for that the facility be put 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 continent's most famous artistic heritage.

Because even if the institution does finally welcome visitors, these artifacts will be noticeably missing.

They are brass, elephant tusk and timber artworks that once adorned the monarch's home of the ancient kingdom before UK forces looted them in the colonial era during a military operation.

Nowadays, many stay scattered across galleries in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Restitution Efforts

Their return has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have now come back – and further are due to follow.

When plans for the museum in the urban center were first announced in the pre-pandemic era, the key players on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art facility to exhibit them to the global audience.

But the situation became complicated some time back after the federal government declared that the Oba would be the proper guardian of repatriated artifacts – and the royal household pushed for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.

Strategic Positioning

This placed Mowaa in a delicate position: asserting a clear stance on repatriation while being careful on custodianship – and emphasising its broader vision, which led to|c