🔗 Share this article

Nigeria's remarkable new West African Art Museum (Mowaa) has ended up in the center of regional political struggles during the period it was supposed to – but failed – to welcome visitors to the general public for the very first time.

The Grand Vision

The large-scale complex is located in the center of Benin City, administrative center of the southern region of Edo – and features an archaeological dig and buildings designed by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that opened in the US capital in 2016.

It has been five years in the making – and is envisioned to showcase both the history and the present of cultural innovation in the region famous for the cultural artifacts, artworks taken from the royal palace by UK forces in the 1800s.

Readiness and Potential

It is impressive – and ahead of the anticipated opening, Mowaa was active with employees resolved to show it is a institution that can match renowned art institutions in the West.

Internally conservators carefully unwrapped art pieces from safety materials, inspecting each artifact and taking meticulous notes before arranging them on exhibition areas and plinths.

Specialists calibrated climate control systems. In the scientific facility, officers set up instruments intended to conserve centuries-old artefacts.

Funding and Economic Goals

The initiative has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's chief executive.

"I aim us to have a substantial economic impact on area populations around here," he explained to the press, mentioning that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit national foundation, aims at establishing more than 30,000 work positions and contributing above $80m per year to the local cultural industry through alliances and activities.

Investment and Administrative Problems

It has needed $25m to get here – capital raised from multiple donors, including the European governments, the UK museum and the local administration.

But at present the regional administration has pulled the rug from below it – revoking the utilization of the site on which the museum was built.

An Edo state spokesperson explained this was because in the initial documents it had called itself EMOWAA – and it had later dropped "the regional name" from its title.

Unrest and Official Response

This announcement followed protests on recently, when activists entered the facility insisting it be named the Museum of the Benin Kingdom.

A rowdy assembly confronted international visitors at the museum ahead of the opening – requiring them to be escorted out under security protection.

Head of state Bola Tinubu has also stepped in to attempt to settle the conflict, creating a special task force to do some damage control.

Political Complexities

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

Much of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded last year – who was a key supporter of the initiative.

And it appears the government of the new governor, a strong supporter of the regional monarch, called the royal figure, may want increased control in the initiative. The activists on the weekend, for case, were demanding that the facility be put under the authority of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the contentious issue of the historical artworks, one of the continent's most famous cultural treasures.

Because although the museum does finally welcome visitors, these artifacts will be clearly not present.

They are metal, ivory and wooden sculptures that once decorated the king's residence of the historical empire before UK forces looted them in 1897 during a punitive expedition.

Currently, numerous stay spread across galleries in the West -- featuring the British Museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most disputed discussions in the global art world. Approximately 150 have now made their way home – and additional are scheduled to be repatriated.

When plans for the museum in the city were first announced in the pre-pandemic era, the key players on the country's cultural sector anticipated it would become their natural home – a modern complex to display them to the international community.

But the situation became complicated recently after the central administration stated that the traditional ruler would be the proper guardian of returned objects – and the monarch's court pushed for a museum under the king's authority, contrary to the wishes of the ex-leader.

Political Navigation

This left Mowaa in a challenging circumstance: asserting a definite position on return while remaining diplomatic on custodianship – and highlighting its broader vision, which led to|c