The nation's remarkable new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the time it was expected to – but failed – to begin operations to the general public for the initial occasion.
The Grand Vision
The six-hectare campus stands in the heart of Benin's urban center, capital of the southern state of Edo – and contains an historical dig and structures created by renowned dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.
It has been half a decade in the creation – and is planned to celebrate both the heritage and the modern times of artistic expression in the area renowned for the cultural artifacts, historical pieces stolen from the king's palace by British troops in the nineteenth century.
Preparation and Promise
It is remarkable – and before the scheduled opening, Mowaa was buzzing with workers committed to show it is a institution that can rival well-known museums and galleries in the West.
Inside art restorers carefully opened artworks from safety materials, checking each piece and taking thorough documentation before arranging them on exhibition areas and bases.
Technicians calibrated temperature regulation systems. In the scientific facility, personnel calibrated devices designed to conserve ancient objects.
Funding and Economic Goals
The project has been the concept of investor Phillip Ihenacho – now Mowaa's managing director.
"I want us to have a major economic impact on area populations around here," he stated to media outlets, adding that he hoped to make the city "a tourism center."
Mowaa, a charitable Nigerian institution, sees itself creating in excess of 30,000 employment opportunities and providing more than $80m annually to the regional creative economy through alliances and events.
Investment and Administrative Problems
It has required $25m to reach this point – funds collected from multiple contributors, such as the French and German governments, the UK museum and the local administration.
But currently the local government has withdrawn support from below it – terminating the occupancy of the site on which the building was erected.
An government communicator clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "Edo" from its designation.
Unrest and Official Response
This announcement was preceded by protests on recently, when protesters entered the complex calling for it be designated the Benin Royal Museum.
A boisterous assembly insulted international visitors at the facility before the opening – requiring them to be hurried away under police escort.
Head of state Bola Tinubu has additionally intervened to work to address the conflict, creating a high-level committee to address the controversy.
Administrative Challenges
But why has this turned into so politicised – and such a public relations crisis?
The majority of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration ended the previous year – who was a primary advocate of the museum.
And it looks like the leadership of the current leader, a close ally of the regional monarch, known as the traditional leader, may desire more of a stake in the initiative. The demonstrators on that day, for instance, were demanding that the museum be positioned under the authority of the current Oba.
The Cultural Artifacts Debate
This highlights the controversial matter of the historical artworks, one of the continent's most renowned artistic heritage.
Because even if the institution does eventually open, these objects will be clearly not present.
They are brass, ivory and wooden sculptures that once decorated the royal palace of the historical empire before UK forces looted them in the late nineteenth century during a military operation.
Nowadays, thousands continue to be scattered across galleries in the West -- including the British Museum, European center and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most disputed discussions in the global art world. Roughly 150 have presently been returned – and further are due to follow.
When proposals for the facility in Benin City were initially revealed in 2019, the movers and shakers on the national arts community hoped it would become their natural home – a modern complex to show them off to the international community.
But the waters were muddied two years ago after the federal government stated that the Oba would be the legal custodian of any returned bronzes – and the palace advocated for a institution under the monarch's supervision, opposing the desires of the ex-leader.
Diplomatic Challenges
This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on return while staying tactful on guardianship – and emphasising its larger purpose, which led to|c