Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the week it was expected to – but failed – to open its doors to the general public for the first time.
The Grand Vision
The 15-acre complex sits in the center of Benin City, administrative center of the southern region of Edo – and features an archaeological dig and structures designed by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the Smithsonian African American Museum that was inaugurated in Washington in 2016.
It has been five years in the development – and is designed to showcase both the history and the current era of artistic expression in the region famous for the Benin Bronzes, artworks looted from the royal palace by UK forces in the nineteenth century.
Setup and Prospects
It is remarkable – and prior to the planned opening, Mowaa was active with employees resolved to show it is a institution that can match established art institutions in the Europe and America.
Inside art restorers meticulously unwrapped cultural items from protective packaging, examining each item and taking thorough records before arranging them on walls and plinths.
Experts adjusted climate control systems. In the materials science laboratory, personnel calibrated equipment designed to maintain ancient artefacts.
Investment and Economic Plans
The venture has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.
"I hope us to have a significant financial effect on local residents in this region," he stated to media outlets, noting that he wanted to make this urban center "an arts hub."
Mowaa, a not-for-profit local organization, envisions itself creating more than 30,000 employment opportunities and contributing over $80m each year to the area arts sector through alliances and events.
Funding Sources and Political Challenges
It has required $25m to reach this point – capital gathered from different contributors, such as the French and German governments, the British Museum and the Edo state government.
But at present the local government has withdrawn support from under it – canceling the utilization of the site on which the museum was built.
An Edo state spokesperson explained this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since dropped "the regional name" from its designation.
Protests and Political Intervention
This statement was preceded by rallies on the weekend, when protesters stormed the campus demanding it be named the Royal Benin Museum.
A boisterous assembly harassed international visitors at the venue ahead of the launch – forcing them to be quickly removed under security protection.
President Bola Tinubu has also stepped in to try and resolve the tensions, setting up a presidential committee to manage the situation.
Administrative Challenges
But how has this become so controversial – and such a reputation problem?
A great deal of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose administration concluded last year – who was a primary advocate of the initiative.
And it looks like the government of the recently elected official, a close ally of the regional monarch, called the traditional leader, may seek more of a stake in the venture. The demonstrators on the weekend, for example, were demanding that the facility be put under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the Benin Bronzes, one of the region's most famous historical legacy.
Because though the museum does finally begin operations, these objects will be conspicuously absent.
They are brass, elephant tusk and timber artworks that once decorated the king's residence of the Benin Kingdom before UK forces stole them in the late nineteenth century during a punitive expedition.
Currently, numerous continue to be distributed across institutions in the West -- featuring the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Restitution Efforts
Their repatriation has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have presently made their way home – and more are scheduled to be repatriated.
When plans for the facility in Benin City were originally proposed in recent years, the influential figures on the national arts community hoped it would become their perfect venue – a state-of-the-art campus to show them off to the global audience.
But the waters were muddied some time back after the national authorities announced that the royal leader would be the rightful owner of any returned bronzes – and the royal household campaigned for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.
Diplomatic Challenges
This left Mowaa in a difficult situation: maintaining a specific viewpoint on restitution while staying tactful on custodianship – and stressing its larger purpose, which led to|c
