🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has ended up in the crosshairs of local power politics during the period it was expected to – but did not manage – to welcome visitors to the public for the initial occasion.

The Ambitious Project

The large-scale complex stands in the center of the Edo state capital, main city of the southern state of Edo – and contains an excavation site and facilities created by celebrated dual heritage architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the creation – and is envisioned to honor both the heritage and the modern times of artistic expression in the region famous for the historic artworks, cultural objects looted from the city's royal palace by British soldiers in the 1800s.

Preparation and Promise

It is remarkable – and before the scheduled opening, Mowaa was buzzing with staff committed to show it is a venue that can match renowned art institutions in the Western world.

Internally preservation experts carefully opened cultural items from secure wrapping, checking each item and taking detailed notes before arranging them on display surfaces and bases.

Technicians adjusted environmental controls. In the research lab, staff members set up devices designed to maintain ancient objects.

Funding and Economic Goals

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

"I hope us to have a substantial economic impact on area populations in the vicinity," he stated to journalists, mentioning that he aspired to make this urban center "an arts hub."

Mowaa, a not-for-profit Nigerian institution, envisions itself establishing over 30,000 direct and indirect jobs and adding over $80m per year to the regional creative economy through partnerships and programming.

Financial Support and Government Issues

It has needed $25m to achieve this stage – funds collected from multiple contributors, such as the European governments, the UK museum and the regional authorities.

But at present the local government has pulled the rug from below it – terminating the occupancy of the land on which the museum was built.

An Edo state spokesperson clarified this was because in the early agreements it had identified as Edo Museum of West African Art – and it had subsequently eliminated "Edo" from its designation.

Protests and Political Intervention

This statement followed demonstrations on Sunday, when activists stormed the complex insisting it be designated the Museum of the Benin Kingdom.

A boisterous assembly insulted international visitors at the museum before the opening – requiring them to be escorted out under police escort.

President Bola Tinubu has additionally stepped in to attempt to settle the dispute, creating a special task force to manage the situation.

Political Complexities

But how has this evolved into so politicised – and such a reputation problem?

The majority of it comes down to local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration concluded recently – who was a primary advocate of the initiative.

And it appears the administration of the current leader, a key associate of the local traditional ruler, called the Oba, may want more of a stake in the venture. The activists on that day, for instance, were demanding that the museum be placed under the control of Oba Ewuare II.

The Cultural Artifacts Debate

This brings into focus the disputed topic of the cultural artifacts, one of the continent's most celebrated cultural treasures.

Because although the facility does finally welcome visitors, these bronzes will be clearly not present.

They are brass, ivory and wooden carvings that once adorned the monarch's home of the historical empire before colonial troops looted them in 1897 during a punitive expedition.

Today, many stay spread across museums in the West -- such as the UK institution, European center and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed discussions in the global art world. About 150 have currently been returned – and additional are expected to return.

When proposals for the institution in the urban center were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art facility to show them off to the global audience.

But the situation became complicated two years ago after the federal government declared that the Oba would be the legal custodian of any returned bronzes – and the monarch's court campaigned for a museum under the king's authority, contrary to the wishes of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: maintaining a definite position on return while remaining diplomatic on custodianship – and highlighting its larger purpose, which led to|c