🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the week it was expected to – but was unable – to begin operations to the public for the first time.

The Grand Vision

The six-hectare complex sits in the core of the Edo state capital, capital of the southern state of Edo – and includes an excavation site and buildings designed by high-profile dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been 60 months in the making – and is designed to celebrate both the heritage and the modern times of artistic expression in the locale known for the historic artworks, historical pieces looted from the royal palace by British troops in the 1800s.

Setup and Prospects

It is remarkable – and ahead of the planned opening, Mowaa was active with employees determined to show it is a institution that can rival established art institutions in the Western world.

Within conservators carefully revealed art pieces from protective packaging, examining each piece and taking detailed records before positioning them on exhibition areas and stands.

Specialists adjusted environmental controls. In the research lab, staff members calibrated equipment designed to maintain historical items.

Investment and Economic Plans

The venture has been the concept of businessman Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a substantial economic benefit on area populations in the vicinity," he stated to journalists, noting that he aspired to make this urban center "a tourism center."

Mowaa, a not-for-profit national foundation, envisions itself generating in excess of 30,000 employment opportunities and contributing more than $80m annually to the area arts sector through partnerships and events.

Funding Sources and Political Challenges

It has needed $25m to achieve this stage – capital raised from various donors, featuring the international partners, the British Museum and the local administration.

But currently the regional administration has revoked permission from below it – revoking the utilization of the property on which the museum was built.

An government communicator clarified this was because in the early agreements it had identified as EMOWAA – and it had since eliminated "the state identifier" from its name.

Protests and Political Intervention

This statement was preceded by protests on Sunday, when protesters stormed the facility calling for it be named the Museum of the Benin Kingdom.

A boisterous group harassed overseas dignitaries at the facility prior to the launch – requiring them to be quickly removed under security protection.

National leader Bola Tinubu has even become involved to attempt to settle the dispute, establishing a high-level committee to do some damage control.

Governance Issues

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

Much of it results from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded recently – who was a key supporter of the project.

And it looks like the leadership of the current leader, a key associate of the area king, called the traditional leader, may want greater involvement in the project. The protesters on that day, for instance, were demanding that the facility be positioned under the supervision of the current Oba.

The Cultural Artifacts Debate

This emphasizes the disputed topic of the historical artworks, one of the region's most celebrated cultural treasures.

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

They are brass, elephant tusk and timber sculptures that once adorned the monarch's home of the historical empire before colonial troops looted them in the late nineteenth century during a colonial invasion.

Currently, many remain distributed across museums in Europe and North America -- such as the London museum, German museum and the American museum.

Return Initiatives

Their homecoming has become one of the most disputed conversations in the international art community. Roughly 150 have presently made their way home – and additional are scheduled to be repatriated.

When ideas for the museum in the urban center were initially revealed in 2019, the influential figures on the national arts community anticipated it would become their ideal location – a modern campus to exhibit them to the international community.

But the situation became complicated two years ago after the central administration announced that the royal leader would be the proper guardian of returned objects – and the royal household pushed for a institution under the king's authority, opposing the wishes of the ex-leader.

Strategic Positioning

This left Mowaa in a difficult situation: asserting a clear stance on restitution while being careful on ownership – and emphasising its wider mission, which led to|c