🔗 Share this article

The nation's remarkable new Museum of West African Art (Mowaa) has ended up in the middle of regional political struggles during the period it was supposed to – but did not manage – to begin operations to the public for the first time.

The Ambitious Project

The 15-acre facility sits in the center of Benin City, main city of the southern area of Edo – and includes an excavation site and facilities designed by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted 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 showcase both the history and the present of cultural innovation in the area known for the Benin Bronzes, historical pieces stolen from the king's palace by British troops in the 19th Century.

Setup and Prospects

It is impressive – and prior to the scheduled opening, Mowaa was active with staff determined to prove it is a venue that can compete with renowned cultural centers in the West.

Within art restorers precisely revealed cultural items from protective packaging, examining each piece and taking detailed records before placing them on exhibition areas and stands.

Experts fine-tuned climate control systems. In the materials science laboratory, officers calibrated devices intended to conserve historical artefacts.

Financial Backing and Economic Vision

The project has been the brainchild of businessman Phillip Ihenacho – now Mowaa's executive director.

"I hope us to have a significant economic impact on area populations in the vicinity," he told media outlets, noting that he hoped to make Benin City "an arts hub."

Mowaa, a not-for-profit local organization, envisions itself establishing over 30,000 employment opportunities and providing over $80m per year to the area arts sector through partnerships and events.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – capital gathered from multiple donors, such as the international partners, the British Museum and the Edo state government.

But at present the local government has revoked permission from beneath it – revoking the use of the land on which the museum was built.

An Edo state spokesperson stated this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently dropped "Edo" from its name.

Protests and Political Intervention

This announcement was preceded by rallies on the weekend, when people entered the facility insisting it be called the Royal Benin Museum.

A disruptive group confronted overseas dignitaries at the facility ahead of the inauguration – requiring them to be hurried away under police escort.

President Bola Tinubu has additionally intervened to work to address the dispute, setting up a presidential committee to address the controversy.

Political Complexities

But how has this turned into so divisive – and such a PR disaster?

Much of it stems from internal conflicts at a local state level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a key supporter of the project.

And it seems the administration of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may seek more of a stake in the initiative. The demonstrators on Sunday, for example, were demanding that the institution be positioned under the control of the current Oba.

The Cultural Artifacts Debate

This highlights the disputed topic of the Benin Bronzes, one of the region's most renowned cultural treasures.

Because even if the museum does ultimately begin operations, these objects will be clearly not present.

They are brass, ivory and wooden artworks that once embellished the monarch's home of the Benin Kingdom before UK forces took them in the late nineteenth century during a military operation.

Today, thousands continue to be distributed across institutions in Europe and North America -- featuring the British Museum, European center and the American museum.

Repatriation Campaigns

Their return has become one of the most disputed conversations in the worldwide cultural sector. Approximately 150 have presently made their way home – and additional are due to follow.

When ideas for the institution in Benin City were first announced in the pre-pandemic era, the key players on the country's cultural sector anticipated it would become their ideal location – a modern facility to show them off to the global audience.

But the waters were muddied some time back after the federal government declared that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household advocated for a museum under the monarch's supervision, contrary to the wishes of Obaseki.

Political Navigation

This left Mowaa in a difficult situation: maintaining a clear stance on repatriation while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c