Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the middle of local power politics during the time it was scheduled to – but did not manage – to begin operations to the general public for the first time.
The Ambitious Project
The 15-acre complex sits in the center of Benin City, administrative center of the southern area of Edo – and features an excavation site and structures created by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington in 2016.
It has been 60 months in the development – and is envisioned to honor both the past and the present of creativity in the locale famous for the cultural artifacts, artworks stolen from the royal palace by British troops in the 19th Century.
Setup and Prospects
It is remarkable – and prior to the scheduled opening, Mowaa was energetic with workers determined to show it is a venue that can compete with renowned museums and galleries in the Europe and America.
Within conservators meticulously revealed artworks from protective packaging, checking each artifact and taking thorough notes before positioning them on exhibition areas and stands.
Experts calibrated climate control systems. In the research lab, staff members set up equipment meant to preserve historical artefacts.
Investment and Economic Plans
The project has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's managing director.
"I hope us to have a major economic impact on local residents in this region," he told media outlets, noting that he hoped to make this urban center "an arts hub."
Mowaa, a not-for-profit Nigerian institution, sees itself establishing more than 30,000 employment opportunities and contributing above $80m each year to the local cultural industry through partnerships and activities.
Funding Sources and Political Challenges
It has taken $25m to achieve this stage – capital collected from different contributors, such as the French and German governments, the UK museum and the regional authorities.
But now the local government has revoked permission from under it – terminating the occupancy of the land on which the museum was built.
An government communicator clarified this was because in the original paperwork it had referred to itself as the Edo-named institution – and it had since eliminated "Edo" from its title.
Unrest and Official Response
This announcement came after rallies on Sunday, when people invaded the campus calling for it be designated the Museum of the Benin Kingdom.
A rowdy assembly harassed overseas dignitaries at the venue before the launch – forcing them to be hurried away under police escort.
National leader Bola Tinubu has even intervened to attempt to settle the dispute, establishing a presidential committee to do some damage control.
Governance Issues
But why has this turned into so controversial – and such a reputation problem?
A great deal of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded the previous year – who was a key supporter of the initiative.
And it looks like the administration of the new governor, a key associate of the local traditional ruler, known as the traditional leader, may desire more of a stake in the venture. The activists on that day, for example, were demanding that the institution be positioned under the control of the current Oba.
The Cultural Artifacts Debate
This emphasizes the contentious issue of the Benin Bronzes, one of Africa's most famous cultural treasures.
Because although the institution does finally welcome visitors, these artifacts will be noticeably missing.
They are brass, ivory and wooden artworks that once decorated the king's residence of the historical empire before colonial troops stole them in the colonial era during a military operation.
Today, numerous remain scattered across galleries in Europe and North America -- featuring the London museum, Berlin's Humboldt Forum and the New York institution.
Repatriation Campaigns
Their homecoming has become one of the most disputed conversations in the worldwide cultural sector. Approximately 150 have now come back – and additional are expected to return.
When ideas for the facility in Benin City were first announced in recent years, the movers and shakers on the country's cultural sector anticipated it would become their ideal location – a state-of-the-art complex to show them off to the global audience.
But the waters were muddied recently after the national authorities announced that the royal leader would be the rightful owner of repatriated artifacts – and the palace pushed for a facility under the monarch's supervision, opposing the preferences of Obaseki.
Political Navigation
This placed Mowaa in a delicate position: asserting a clear stance on return while staying tactful on ownership – and highlighting its broader vision, which led to|c
