The nation's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of area political conflicts during the time it was expected to – but failed – to welcome visitors to the general public for the first time.
The Grand Vision
The large-scale complex sits in the core of Benin's urban center, main city of the southern region of Edo – and contains an excavation site and facilities designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.
It has been half a decade in the creation – and is planned to celebrate both the history and the current era of cultural innovation in the region famous for the Benin Bronzes, historical pieces taken from the royal palace by UK forces in the 19th Century.
Preparation and Promise
It is remarkable – and prior to the scheduled opening, Mowaa was energetic with staff resolved to prove it is a venue that can compete with renowned cultural centers in the Western world.
Within art restorers carefully opened artworks from protective packaging, examining each piece and taking meticulous records before positioning them on walls and plinths.
Technicians fine-tuned environmental controls. In the research lab, staff members calibrated instruments designed to preserve historical objects.
Financial Backing and Economic Vision
The initiative has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.
"I want us to have a significant financial effect on area populations around here," he stated to the press, noting that he aspired to make the city "a cultural destination."
Mowaa, a not-for-profit national foundation, envisions itself creating over 30,000 work positions and adding above $80m per year to the local cultural industry through alliances and activities.
Financial Support and Government Issues
It has taken $25m to reach this point – money raised from multiple supporters, including the European governments, the London institution and the regional authorities.
But now the regional administration has revoked permission from below it – canceling the occupancy of the property on which the building was erected.
An government communicator explained this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its name.
Unrest and Official Response
This declaration was preceded by demonstrations on recently, when people invaded the campus calling for it be called the Museum of the Benin Kingdom.
A rowdy assembly confronted international visitors at the facility ahead of the launch – forcing them to be hurried away under security protection.
President Bola Tinubu has even intervened to work to address the tensions, setting up a presidential committee to do some damage control.
Governance Issues
But how has this turned into so divisive – and such a reputation problem?
Much of it stems from internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a primary advocate of the initiative.
And it seems the leadership of the current leader, a strong supporter of the local traditional ruler, referred to as the traditional leader, may seek greater involvement in the project. The activists on that day, for case, were calling for that the facility be placed under the authority of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the cultural artifacts, one of the continent's most celebrated historical legacy.
Because though the institution does eventually open, these bronzes will be noticeably missing.
They are brass, elephant tusk and wooden sculptures that once adorned the royal palace of the Benin Kingdom before British soldiers looted them in the late nineteenth century during a colonial invasion.
Nowadays, numerous remain spread across museums in Europe and North America -- featuring the London museum, German museum and the New York institution.
Repatriation Campaigns
Their return has become one of the most disputed conversations in the international art community. Roughly 150 have now been returned – and additional are expected to return.
When proposals for the institution in Benin City were first announced in the pre-pandemic era, the key players on Nigeria's art scene anticipated it would become their perfect venue – a state-of-the-art facility to display them to the international community.
But the situation became complicated recently after the federal government announced that the traditional ruler would be the legal custodian of repatriated artifacts – and the royal household pushed for a museum under the king's authority, against the desires of Obaseki.
Diplomatic Challenges
This left Mowaa in a difficult situation: asserting a clear stance on return while staying tactful on custodianship – and emphasising its larger purpose, which led to|c
