Nigeria's remarkable new Art Museum of West Africa (Mowaa) has landed in the crosshairs of area political conflicts during the period it was scheduled to – but did not manage – to welcome visitors to the public for the initial occasion.
The Major Initiative
The 15-acre facility sits in the heart of Benin City, administrative center of the southern region of Edo – and features an historical dig and facilities planned by renowned dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington DC in 2016.
It has been half a decade in the making – and is designed to celebrate both the history and the present of cultural innovation in the region known for the Benin Bronzes, artworks stolen from the king's palace by British soldiers in the 19th Century.
Preparation and Promise
It is notable – and before the scheduled opening, Mowaa was energetic with employees determined to show it is a venue that can compete with renowned museums and galleries in the Western world.
Inside art restorers meticulously revealed artworks from secure wrapping, examining each piece and taking detailed records before placing them on exhibition areas and stands.
Technicians adjusted temperature regulation systems. In the research lab, personnel calibrated equipment meant to conserve ancient items.
Investment and Economic Plans
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's chief executive.
"I hope us to have a major economic impact on area populations in the vicinity," he told journalists, mentioning that he hoped to make Benin City "an arts hub."
Mowaa, a non-profit Nigerian institution, aims at establishing in excess of 30,000 work positions and adding above $80m annually to the regional creative economy through partnerships and activities.
Investment and Administrative Problems
It has taken $25m to reach this point – capital collected from different contributors, featuring the European governments, the British Museum and the Edo state government.
But at present the state authorities has withdrawn support from beneath it – canceling the use of the property on which the facility was constructed.
An official representative explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its name.
Demonstrations and Government Action
This statement came after rallies on recently, when protesters stormed the facility demanding it be designated the Benin Royal Museum.
A disruptive crowd confronted foreign guests at the facility ahead of the launch – compelling them to be hurried away under official guard.
President Bola Tinubu has also intervened to attempt to settle the conflict, establishing a special task force to address the controversy.
Governance Issues
But why has this evolved into so politicised – and such a reputation problem?
Much of it results from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance ended recently – who was a primary advocate of the project.
And it seems the administration of the new governor, a close ally of the local traditional ruler, referred to as the traditional leader, may seek greater involvement in the initiative. The protesters on the weekend, for case, were calling for that the institution be positioned under the control of the royal leader.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the Benin Bronzes, one of the region's most renowned cultural treasures.
Because although the facility does ultimately welcome visitors, these objects will be noticeably missing.
They are metal, ivory and wooden carvings that once adorned the monarch's home of the ancient kingdom before British soldiers stole them in the late nineteenth century during a military operation.
Today, many continue to be scattered across galleries in the West -- featuring the UK institution, European center and the American museum.
Return Initiatives
Their homecoming has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have now come back – and further are expected to return.
When plans for the museum in the city were originally proposed in 2019, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a state-of-the-art complex to show them off to the international community.
But the waters were muddied two years ago after the national authorities announced that the royal leader would be the rightful owner of repatriated artifacts – and the royal household pushed for a museum under the royal family's direct control, contrary to the wishes of the former governor.
Strategic Positioning
This left Mowaa in a difficult situation: asserting a specific viewpoint on restitution while remaining diplomatic on ownership – and emphasising its wider mission, which led to|c
