Nigeria's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was expected to – but failed – to welcome visitors to the public for the first time.
The Grand Vision
The large-scale complex stands in the heart of Benin's urban center, administrative center of the southern area of Edo – and includes an archaeological dig and structures created by renowned Ghanaian-British architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington in 2016.
It has been half a decade in the development – and is designed to celebrate both the heritage and the modern times of artistic expression in the area famous for the historic artworks, historical pieces taken from the city's royal palace by British soldiers in the 1800s.
Readiness and Potential
It is impressive – and before the scheduled opening, Mowaa was active with workers resolved to prove it is a institution that can compete with well-known cultural centers in the Western world.
Internally conservators carefully opened artworks from secure wrapping, examining each piece and taking meticulous documentation before placing them on display surfaces and plinths.
Specialists fine-tuned climate control systems. In the research lab, personnel adjusted equipment designed to preserve ancient artefacts.
Funding and Economic Goals
The project has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.
"I aim us to have a substantial economic impact on area populations in the vicinity," he stated to the press, noting that he hoped to make this urban center "a tourism center."
Mowaa, a not-for-profit Nigerian institution, sees itself generating in excess of 30,000 direct and indirect jobs and adding more than $80m per year to the local cultural industry through partnerships and programming.
Investment and Administrative Problems
It has required $25m to reach this point – capital raised from various contributors, including the French and German governments, the UK museum and the local administration.
But at present the state authorities has revoked permission from beneath it – revoking the occupancy of the property on which the museum was built.
An government communicator clarified this was because in the initial documents it had called itself the Edo-named institution – and it had later removed "the regional name" from its title.
Protests and Political Intervention
This announcement was preceded by rallies on the weekend, when people entered the complex calling for it be called the Museum of the Benin Kingdom.
A rowdy crowd confronted foreign guests at the museum before the launch – requiring them to be escorted out under official guard.
Head of state Bola Tinubu has even stepped in to try and resolve the conflict, creating a special task force to address the controversy.
Administrative Challenges
But why has this turned into so politicised – and such a PR disaster?
Much of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a major backer of the initiative.
And it seems the administration of the current leader, a strong supporter of the regional monarch, called the royal figure, may want more of a stake in the venture. The protesters on Sunday, for instance, were calling for that the institution be put under the control of the current Oba.
The Cultural Artifacts Debate
This highlights the disputed topic of the cultural artifacts, one of the region's most celebrated artistic heritage.
Because although the institution does eventually begin operations, these objects will be noticeably missing.
They are brass, ivory and wooden artworks that once adorned the monarch's home of the historical empire before British soldiers looted them in 1897 during a military operation.
Currently, thousands stay spread across galleries in Europe and North America -- such as the UK institution, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Repatriation Campaigns
Their repatriation has become one of the most disputed debates in the international art community. About 150 have currently made their way home – and further are due to follow.
When ideas for the facility in the urban center were originally proposed in 2019, the key players on the national arts community expected it would become their perfect venue – a modern facility to display them to the international community.
But the issues became confused recently after the national authorities declared that the royal leader would be the legal custodian of returned objects – and the palace campaigned for a facility under the monarch's supervision, contrary to the wishes of the ex-leader.
Diplomatic Challenges
This left Mowaa in a challenging circumstance: asserting a specific viewpoint on restitution while being careful on custodianship – and highlighting its broader vision, which led to|c
