🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has landed in the middle of regional political struggles during the period it was expected to – but was unable – to open its doors to the public for the first time.

The Grand Vision

The large-scale facility sits in the center of Benin's urban center, capital of the southern region of Edo – and includes an historical dig and buildings designed by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington in 2016.

It has been five years in the making – and is designed to celebrate both the heritage and the present of artistic expression in the locale famous for the cultural artifacts, artworks stolen from the royal palace by UK forces in the 19th Century.

Preparation and Promise

It is notable – and before the anticipated opening, Mowaa was active with workers committed to show it is a venue that can rival established museums and galleries in the Western world.

Internally art restorers carefully revealed cultural items from safety materials, examining each artifact and taking detailed documentation before placing them on display surfaces and stands.

Technicians fine-tuned temperature regulation systems. In the research lab, officers calibrated devices meant to maintain centuries-old objects.

Financial Backing and Economic Vision

The project has been the concept of businessman Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a significant financial effect on area populations around here," he explained to media outlets, mentioning that he wanted to make this urban center "a cultural destination."

Mowaa, a not-for-profit Nigerian institution, envisions itself generating more than 30,000 employment opportunities and providing over $80m each year to the area arts sector through collaborations and programming.

Funding Sources and Political Challenges

It has required $25m to get here – money raised from various contributors, such as the French and German governments, the London institution and the regional authorities.

But now the regional administration has pulled the rug from under it – revoking the use of the site on which the facility was constructed.

An Edo state spokesperson 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.

Protests and Political Intervention

This declaration was preceded by protests on the weekend, when activists entered the complex insisting it be called the Benin Royal Museum.

A disruptive assembly insulted foreign guests at the museum prior to the inauguration – compelling them to be hurried away under police escort.

National leader Bola Tinubu has also stepped in to attempt to settle the dispute, setting up a presidential committee to do some damage control.

Political Complexities

But in what way has this become 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 former state leader Godwin Obaseki – whose administration ended the previous year – who was a key supporter of the museum.

And it seems the government of the recently elected official, a strong supporter of the regional monarch, called the traditional leader, may seek greater involvement in the project. The protesters on that day, for case, were insisting that the facility be placed under the authority of the current Oba.

The Benin Bronzes Controversy

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

Because though the institution does ultimately begin operations, these objects will be clearly not present.

They are metal, elephant tusk and wooden sculptures that once decorated the monarch's home of the Benin Kingdom before British soldiers took them in 1897 during a colonial invasion.

Nowadays, numerous continue to be scattered across museums in the West -- featuring the London museum, German museum and the American museum.

Repatriation Campaigns

Their return has become one of the most contested debates in the global art world. About 150 have presently made their way home – and more are scheduled to be repatriated.

When proposals for the facility in the urban center were first announced in 2019, the influential figures on the country's cultural sector hoped it would become their ideal location – a state-of-the-art facility to exhibit them to the world.

But the situation became complicated recently after the national authorities announced that the traditional ruler would be the proper guardian of repatriated artifacts – and the palace campaigned for a facility under the royal family's direct control, against the wishes of Obaseki.

Political Navigation

This left Mowaa in a challenging circumstance: expressing a specific viewpoint on repatriation while being careful on guardianship – and stressing its larger purpose, which led to|c