The nation's stunning new Museum of West African Art (Mowaa) has landed in the center of regional political struggles during the period it was scheduled to – but failed – to welcome visitors to the public for the very first time.
The Ambitious Project
The six-hectare campus stands in the heart of Benin's urban center, capital of the southern state of Edo – and includes an excavation site and facilities created by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that opened in the US capital in 2016.
It has been half a decade in the creation – and is planned to celebrate both the history and the current era of artistic expression in the locale famous for the historic artworks, cultural objects looted from the royal palace by British soldiers in the 1800s.
Preparation and Promise
It is impressive – and prior to the planned opening, Mowaa was energetic with staff determined to show it is a place that can compete with well-known museums and galleries in the West.
Internally art restorers carefully opened art pieces from secure wrapping, examining each artifact and taking detailed records before placing them on display surfaces and plinths.
Experts adjusted climate control systems. In the research lab, officers adjusted instruments designed to conserve ancient artefacts.
Financial Backing and Economic Vision
The project has been the concept of businessman Phillip Ihenacho – presently Mowaa's executive director.
"I want us to have a substantial economic benefit on local residents in this region," he explained to the press, mentioning that he hoped to make this urban center "an arts hub."
Mowaa, a charitable Nigerian institution, envisions itself generating more than 30,000 work positions and contributing over $80m each year to the area arts sector through collaborations and activities.
Financial Support and Government Issues
It has taken $25m to get here – money raised from different supporters, including the European governments, the London institution and the Edo state government.
But now the regional administration has withdrawn support from beneath it – canceling the use of the property on which the facility was constructed.
An government communicator explained this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had later dropped "Edo" from its name.
Demonstrations and Government Action
This statement came after demonstrations on the weekend, when protesters entered the campus calling for it be designated the Museum of the Benin Kingdom.
A boisterous group harassed international visitors at the facility ahead of the inauguration – compelling them to be hurried away under police escort.
National leader Bola Tinubu has also stepped in to work to address the dispute, establishing a presidential committee to address the controversy.
Governance Issues
But why has this turned into so divisive – and such a public relations crisis?
Much of it stems from internecine rivalries at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose administration ended the previous year – who was a key supporter of the project.
And it looks like the leadership of the recently elected official, a strong supporter of the local traditional ruler, referred to as the Oba, may seek greater involvement in the project. The protesters on the weekend, for example, were demanding that the museum be put under the supervision of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the controversial matter of the cultural artifacts, one of the region's most famous cultural treasures.
Because although the facility does ultimately begin operations, these bronzes will be conspicuously absent.
They are brass, elephant tusk and timber carvings that once embellished the king's residence of the Benin Kingdom before colonial troops stole them in 1897 during a military operation.
Currently, numerous remain scattered across galleries in Europe and North America -- featuring the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Return Initiatives
Their repatriation has become one of the most contested conversations in the international art community. Approximately 150 have currently come back – and further are scheduled to be repatriated.
When ideas for the institution in the city were initially revealed in recent years, the movers and shakers on Nigeria's art scene expected it would become their natural home – a modern campus to exhibit them to the world.
But the issues became confused some time back after the federal government announced that the traditional ruler would be the legal custodian of returned objects – and the palace campaigned for a facility under the monarch's supervision, opposing the wishes of the ex-leader.
Diplomatic Challenges
This left Mowaa in a delicate position: asserting a specific viewpoint on restitution while staying tactful on guardianship – and highlighting its broader vision, which led to|c
