🔗 Share this article

The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was supposed to – but did not manage – to welcome visitors to the general public for the initial occasion.

The Ambitious Project

The 15-acre facility stands in the heart of Benin's urban center, main city of the southern state of Edo – and features an historical dig and facilities designed by high-profile Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the making – and is designed to celebrate both the history and the present of artistic expression in the region famous for the historic artworks, cultural objects taken from the city's royal palace by UK forces in the 19th Century.

Readiness and Potential

It is impressive – and ahead of the anticipated opening, Mowaa was buzzing with employees committed to show it is a venue that can rival well-known cultural centers in the Western world.

Within art restorers precisely unwrapped art pieces from protective packaging, examining each piece and taking thorough notes before arranging them on exhibition areas and bases.

Technicians adjusted environmental controls. In the research lab, personnel set up devices designed to preserve centuries-old objects.

Financial Backing and Economic Vision

The venture has been the brainchild of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a substantial economic benefit on communities around here," he explained to the press, mentioning that he hoped to make Benin City "a tourism center."

Mowaa, a charitable national foundation, envisions itself establishing in excess of 30,000 direct and indirect jobs and providing above $80m annually to the area arts sector through collaborations and programming.

Funding Sources and Political Challenges

It has taken $25m to get here – capital gathered from multiple donors, such as the international partners, the London institution and the regional authorities.

But currently the state authorities has pulled the rug from under it – canceling the occupancy of the site on which the building was erected.

An government communicator stated this was because in the original paperwork it had called itself the Edo-named institution – and it had subsequently eliminated "the regional name" from its designation.

Protests and Political Intervention

This declaration followed rallies on the weekend, when protesters invaded the campus demanding it be called the Royal Benin Museum.

A disruptive group insulted international visitors at the venue before the launch – compelling them to be quickly removed under security protection.

National leader Bola Tinubu has also intervened to work to address the conflict, setting up a special task force to manage the situation.

Governance Issues

But how has this evolved into so politicised – and such a public relations crisis?

A great deal of it results from local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose governance finished last year – who was a primary advocate of the initiative.

And it appears the government of the current leader, a strong supporter of the area king, known as the Oba, may desire more of a stake in the venture. The activists on Sunday, for example, were demanding that the institution be put under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the Benin Bronzes, one of the continent's most famous cultural treasures.

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

They are brass, ivory and wooden artworks that once decorated the royal palace of the Benin Kingdom before colonial troops stole them in the colonial era during a colonial invasion.

Today, thousands continue to be scattered across institutions in the West -- such as the London museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most disputed conversations in the global art world. About 150 have currently been returned – and further are expected to return.

When ideas for the facility in Benin City were first announced in recent years, the influential figures on the country's cultural sector anticipated it would become their perfect venue – a modern facility to show them off to the world.

But the waters were muddied some time back after the national authorities stated that the traditional ruler would be the legal custodian of any returned bronzes – and the monarch's court advocated for a museum under the royal family's direct control, contrary to the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on return while being careful on ownership – and stressing its larger purpose, which led to|c