🔗 Share this article

Nigeria's remarkable new West African Art Museum (Mowaa) has ended up in the crosshairs of regional political struggles during the time it was supposed to – but did not manage – to welcome visitors to the public for the very first time.

The Major Initiative

The large-scale complex is located in the core of the Edo state capital, capital of the southern state of Edo – and features an historical dig and structures created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in the US capital in 2016.

It has been half a decade in the making – and is envisioned to showcase both the past and the present of artistic expression in the area known for the cultural artifacts, cultural objects taken from the city's royal palace by British troops in the 1800s.

Preparation and Promise

It is impressive – and before the anticipated opening, Mowaa was buzzing with workers determined to demonstrate it is a place that can rival established art institutions in the Europe and America.

Internally conservators meticulously opened cultural items from protective packaging, examining each artifact and taking detailed records before positioning them on walls and bases.

Experts adjusted environmental controls. In the materials science laboratory, personnel calibrated devices intended to maintain centuries-old items.

Investment and Economic Plans

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

"I want us to have a major economic benefit on communities in this region," he stated to media outlets, mentioning that he hoped to make Benin City "a cultural destination."

Mowaa, a not-for-profit national foundation, sees itself generating over 30,000 employment opportunities and providing above $80m annually to the local cultural industry through partnerships and programming.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – funds raised from different supporters, such as the French and German governments, the British Museum and the local administration.

But now the state authorities has withdrawn support from under it – terminating the occupancy of the site on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had called itself Edo Museum of West African Art – and it had later dropped "the regional name" from its name.

Unrest and Official Response

This statement was preceded by demonstrations on recently, when activists stormed the complex calling for it be named the Benin Royal Museum.

A disruptive crowd insulted foreign guests at the museum before the inauguration – forcing them to be escorted out under security protection.

Head of state Bola Tinubu has even stepped in to attempt to settle the tensions, creating a presidential committee to do some damage control.

Administrative Challenges

But how has this evolved into so politicised – and such a PR disaster?

Much of it results from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance concluded recently – who was a primary advocate of the initiative.

And it looks like the administration of the current leader, a close ally of the regional monarch, called the Oba, may desire increased control in the project. The demonstrators on the weekend, for example, were insisting that the facility be placed under the authority of the royal leader.

The Historical Objects Discussion

This highlights the contentious issue of the cultural artifacts, one of the continent's most renowned artistic heritage.

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

They are brass, ivory and wooden carvings that once decorated the king's residence of the historical empire before British soldiers took them in 1897 during a military operation.

Currently, many continue to be spread across galleries in the West -- such as the UK institution, European center and the American museum.

Return Initiatives

Their return has become one of the most debated debates in the global art world. Approximately 150 have presently come back – and more are expected to return.

When plans for the museum in the urban center were originally proposed in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a advanced campus to show them off to the international community.

But the issues became confused some time back after the national authorities declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the monarch's court advocated for a facility under the monarch's supervision, contrary to the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a specific viewpoint on restitution while being careful on ownership – and highlighting its broader vision, which led to|c