🔗 Share this article

The nation's remarkable new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the period it was scheduled to – but failed – to welcome visitors to the public for the very first time.

The Grand Vision

The six-hectare campus stands in the core of Benin's urban center, administrative center of the southern area of Edo – and contains an archaeological dig and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been five years in the creation – and is designed to honor both the heritage and the current era of artistic expression in the area famous for the cultural artifacts, artworks taken from the king's palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and ahead of the planned opening, Mowaa was buzzing with staff resolved to demonstrate it is a place that can match established art institutions in the Europe and America.

Inside art restorers carefully revealed art pieces from secure wrapping, checking each item and taking detailed notes before placing them on display surfaces and bases.

Technicians calibrated environmental controls. In the scientific facility, personnel calibrated equipment intended to preserve ancient artefacts.

Funding and Economic Goals

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

"I want us to have a significant economic impact on local residents around here," he explained to the press, adding that he aspired to make Benin City "a cultural destination."

Mowaa, a non-profit national foundation, sees itself establishing over 30,000 work positions and providing above $80m each year to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has needed $25m to get here – funds raised from multiple donors, including the French and German governments, the British Museum and the regional authorities.

But at present the local government has pulled the rug from under it – terminating the utilization of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the early agreements it had called itself EMOWAA – and it had later dropped "Edo" from its name.

Protests and Political Intervention

This declaration was preceded by protests on recently, when protesters stormed the facility calling for it be called the Museum of the Benin Kingdom.

A disruptive crowd insulted foreign guests at the museum ahead of the launch – requiring them to be quickly removed under police escort.

Head of state Bola Tinubu has also become involved to work to address the conflict, establishing a special task force to address the controversy.

Governance Issues

But how has this turned into so controversial – and such a public relations crisis?

Much of it comes down to local power struggles at a area administrative level, as it was the former state leader Godwin Obaseki – whose governance concluded last year – who was a major backer of the project.

And it seems the administration of the new governor, a close ally of the regional monarch, called the traditional leader, may desire increased control in the project. The protesters on the weekend, for example, were demanding that the museum be put under the supervision of the current Oba.

The Historical Objects Discussion

This emphasizes the disputed topic of the historical artworks, one of the continent's most famous cultural treasures.

Because although the facility does eventually begin operations, these bronzes will be clearly not present.

They are brass, ivory and wooden sculptures that once adorned the royal palace of the Benin Kingdom before colonial troops took them in 1897 during a punitive expedition.

Nowadays, numerous remain distributed across institutions in Europe and North America -- including the UK institution, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their homecoming has become one of the most disputed conversations in the international art community. Roughly 150 have now come back – and further are scheduled to be repatriated.

When plans for the institution in Benin City were first announced in 2019, the influential figures on the national arts community expected it would become their perfect venue – a modern complex to exhibit them to the world.

But the situation became complicated recently after the national authorities announced that the royal leader would be the rightful owner of any returned bronzes – and the palace advocated for a institution under the king's authority, against the wishes of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a clear stance on repatriation while remaining diplomatic on custodianship – and stressing its broader vision, which led to|c