🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the week it was expected to – but failed – to welcome visitors to the public for the very first time.

The Ambitious Project

The six-hectare complex sits in the core of the Edo state capital, capital of the southern region of Edo – and includes an historical dig and buildings created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the creation – and is designed to honor both the history and the current era of artistic expression in the area known for the historic artworks, historical pieces taken from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is notable – and prior to the planned opening, Mowaa was buzzing with staff committed to demonstrate it is a institution that can compete with renowned art institutions in the Europe and America.

Inside art restorers meticulously unwrapped cultural items from safety materials, checking each artifact and taking meticulous records before arranging them on display surfaces and stands.

Technicians adjusted temperature regulation systems. In the materials science laboratory, personnel adjusted instruments designed to preserve ancient objects.

Funding and Economic Goals

The venture has been the brainchild of investor Phillip Ihenacho – currently Mowaa's managing director.

"I want us to have a substantial financial effect on local residents in this region," he explained to media outlets, adding that he wanted to make this urban center "a tourism center."

Mowaa, a non-profit Nigerian institution, sees itself establishing more than 30,000 employment opportunities and contributing more than $80m each year to the regional creative economy through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to get here – capital collected from multiple supporters, featuring the international partners, the London institution and the regional authorities.

But currently the local government has pulled the rug from under it – revoking the use of the property on which the building was erected.

An government communicator stated this was because in the initial documents it had referred to itself as EMOWAA – and it had subsequently dropped "Edo" from its name.

Demonstrations and Government Action

This announcement came after demonstrations on Sunday, when activists entered the complex demanding it be designated the Benin Royal Museum.

A rowdy crowd insulted foreign guests at the museum before the launch – requiring them to be escorted out under security protection.

National leader Bola Tinubu has additionally become involved to try and resolve the dispute, creating a special task force to address the controversy.

Governance Issues

But in what way has this become so controversial – and such a public relations crisis?

The majority of it results from internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration ended recently – who was a major backer of the museum.

And it seems the leadership of the current leader, a close ally of the area king, called the Oba, may desire more of a stake in the venture. The protesters on that day, for example, were insisting that the institution be put under the control of the royal leader.

The Benin Bronzes Controversy

This highlights the disputed topic of the historical artworks, one of the continent's most famous artistic heritage.

Because even if the institution does eventually welcome visitors, these bronzes will be clearly not present.

They are metal, ivory and wooden carvings that once adorned the royal palace of the ancient kingdom before British soldiers stole them in the colonial era during a punitive expedition.

Currently, numerous continue to be scattered across institutions in Western nations -- including the London museum, European center and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most contested debates in the worldwide cultural sector. Approximately 150 have now come back – and additional are scheduled to be repatriated.

When plans for the facility in the urban center were initially revealed in recent years, the movers and shakers on the national arts community hoped it would become their natural home – a modern complex to exhibit them to the world.

But the situation became complicated some time back after the federal government announced that the Oba would be the rightful owner of repatriated artifacts – and the royal household pushed for a facility under the monarch's supervision, contrary to the preferences of the ex-leader.

Political Navigation

This placed Mowaa in a challenging circumstance: maintaining a specific viewpoint on restitution while being careful on guardianship – and stressing its larger purpose, which led to|c