🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the crosshairs of area political conflicts during the week it was scheduled to – but failed – to open its doors to the general public for the first time.

The Major Initiative

The large-scale complex sits in the heart of the Edo state capital, administrative center of the southern area of Edo – and contains an archaeological dig and facilities designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington DC in 2016.

It has been five years in the making – and is designed to honor both the history and the current era of creativity in the region famous for the cultural artifacts, artworks taken from the king's palace by British soldiers in the 19th Century.

Preparation and Promise

It is remarkable – and prior to the planned opening, Mowaa was active with staff resolved to prove it is a venue that can match renowned art institutions in the Europe and America.

Within conservators precisely opened cultural items from protective packaging, inspecting each piece and taking meticulous documentation before positioning them on exhibition areas and stands.

Technicians fine-tuned climate control systems. In the research lab, officers adjusted instruments meant to conserve centuries-old items.

Investment and Economic Plans

The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a substantial financial effect on local residents around here," he stated to the press, adding that he hoped to make this urban center "a tourism center."

Mowaa, a charitable national foundation, aims at creating more than 30,000 employment opportunities and providing over $80m each year to the local cultural industry through alliances and activities.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds gathered from multiple donors, featuring the European governments, the UK museum and the local administration.

But now the local government has revoked permission from under it – terminating the occupancy of the land on which the building was erected.

An official representative explained this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had later dropped "the state identifier" from its title.

Unrest and Official Response

This announcement came after protests on recently, when protesters invaded the campus calling for it be named the Benin Royal Museum.

A disruptive group insulted overseas dignitaries at the museum prior to the inauguration – compelling them to be quickly removed under security protection.

Head of state Bola Tinubu has also intervened to work to address the dispute, establishing a high-level committee to address the controversy.

Political Complexities

But in what way has this evolved into so divisive – and such a public relations crisis?

The majority of it comes down to internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office concluded recently – who was a major backer of the project.

And it appears the administration of the current leader, a strong supporter of the area king, known as the royal figure, may want increased control in the venture. The protesters on that day, for instance, were demanding that the institution be positioned under the supervision of the current Oba.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the Benin Bronzes, one of the region's most renowned artistic heritage.

Because though the facility does finally begin operations, these bronzes will be clearly not present.

They are brass, elephant tusk and wooden sculptures that once embellished the monarch's home of the historical empire before colonial troops took them in the colonial era during a colonial invasion.

Today, thousands remain distributed across galleries in the West -- including the London museum, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most contested debates in the worldwide cultural sector. About 150 have now made their way home – and more are expected to return.

When proposals for the institution in the city were initially revealed in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their natural home – a advanced facility to exhibit them to the international community.

But the waters were muddied some time back after the national authorities declared that the royal leader would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a institution under the monarch's supervision, opposing the wishes of the former governor.

Diplomatic Challenges

This placed Mowaa in a delicate position: asserting a definite position on restitution while staying tactful on custodianship – and highlighting its wider mission, which led to|c