🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has ended up in the crosshairs of area political conflicts during the time it was supposed to – but failed – to welcome visitors to the public for the first time.

The Grand Vision

The large-scale facility sits in the center of the Edo state capital, main city of the southern state of Edo – and features an excavation site and facilities planned by celebrated 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 60 months in the creation – and is designed to celebrate both the past and the current era of artistic expression in the area known for the historic artworks, historical pieces stolen from the king's palace by British troops in the 1800s.

Readiness and Potential

It is remarkable – and before the planned opening, Mowaa was active with staff resolved to prove it is a place that can match renowned art institutions in the West.

Within conservators precisely revealed art pieces from protective packaging, examining each item and taking meticulous notes before arranging them on exhibition areas and stands.

Experts fine-tuned environmental controls. In the scientific facility, officers adjusted equipment meant to conserve historical artefacts.

Funding and Economic Goals

The initiative has been the brainchild of businessman Phillip Ihenacho – presently Mowaa's managing director.

"I want us to have a major economic benefit on area populations in the vicinity," he told the press, mentioning that he aspired to make Benin City "a cultural destination."

Mowaa, a charitable local organization, sees itself establishing more than 30,000 employment opportunities and providing over $80m each year to the regional creative economy through partnerships and activities.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – funds gathered from multiple donors, such as the French and German governments, the London institution and the regional authorities.

But currently the local government has pulled the rug from beneath it – revoking the utilization of the land on which the museum was built.

An Edo state spokesperson stated this was because in the early agreements it had referred to itself as EMOWAA – and it had since eliminated "Edo" from its name.

Demonstrations and Government Action

This announcement came after demonstrations on the weekend, when protesters stormed the facility calling for it be named the Benin Royal Museum.

A disruptive crowd harassed international visitors at the facility ahead of the inauguration – forcing them to be escorted out under police escort.

National leader Bola Tinubu has also become involved to work to address the conflict, setting up a presidential committee to do some damage control.

Governance Issues

But why has this turned into so politicised – and such a PR disaster?

A great deal of it stems from internal conflicts at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose governance ended last year – who was a key supporter of the museum.

And it looks like the leadership of the recently elected official, a strong supporter of the local traditional ruler, known as the traditional leader, may want greater involvement in the project. The protesters on Sunday, for instance, were calling for that the facility be positioned under the control of the royal leader.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the Benin Bronzes, one of Africa's most famous cultural treasures.

Because though the institution does finally open, these artifacts will be noticeably missing.

They are brass, elephant tusk and timber artworks that once embellished the monarch's home of the ancient kingdom before UK forces looted them in the colonial era during a colonial invasion.

Nowadays, thousands remain spread across institutions in Western nations -- such as the UK institution, Berlin's Humboldt Forum and the New York institution.

Restitution Efforts

Their repatriation has become one of the most disputed discussions in the global art world. About 150 have now come back – and additional are scheduled to be repatriated.

When plans for the institution in Benin City were initially revealed in recent years, the movers and shakers on the national arts community hoped it would become their natural home – a modern facility to display them to the global audience.

But the situation became complicated some time back after the central administration declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the palace pushed for a facility under the royal family's direct control, contrary to the preferences of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: asserting a specific viewpoint on restitution while staying tactful on guardianship – and stressing its larger purpose, which led to|c