🔗 Share this article

Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the center of regional political struggles during the period it was expected to – but was unable – to open its doors to the general public for the first time.

The Ambitious Project

The six-hectare facility sits in the core of Benin City, capital of the southern region of Edo – and features an historical dig and structures designed by high-profile Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.

It has been five years in the development – and is designed to celebrate both the past and the present of cultural innovation in the area famous for the Benin Bronzes, artworks taken from the king's palace by British soldiers in the 1800s.

Preparation and Promise

It is remarkable – and prior to the anticipated opening, Mowaa was active with workers committed to prove it is a venue that can compete with renowned cultural centers in the Western world.

Within preservation experts precisely unwrapped art pieces from secure wrapping, examining each piece and taking detailed documentation before arranging them on walls and plinths.

Experts fine-tuned environmental controls. In the research lab, personnel set up instruments designed to maintain historical artefacts.

Financial Backing and Economic Vision

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

"I want us to have a significant economic benefit on communities in this region," he stated to the press, adding that he wanted to make this urban center "an arts hub."

Mowaa, a charitable local organization, aims at creating in excess of 30,000 direct and indirect jobs and adding more than $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 – money raised from multiple contributors, featuring the French and German governments, the UK museum and the Edo state government.

But now the local government has pulled the rug from below it – canceling the occupancy of the property on which the building was erected.

An official representative clarified this was because in the early agreements it had referred to itself as EMOWAA – and it had since eliminated "the state identifier" from its designation.

Unrest and Official Response

This declaration followed protests on the weekend, when protesters invaded the campus demanding it be designated the Museum of the Benin Kingdom.

A disruptive assembly confronted foreign guests at the venue ahead of the inauguration – forcing them to be escorted out under official guard.

National leader Bola Tinubu has additionally stepped in to work to address the dispute, establishing a presidential committee to address the controversy.

Political Complexities

But in what way has this evolved into so politicised – and such a PR disaster?

A great deal of it stems from local power struggles at a local state level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a key supporter of the museum.

And it looks like the leadership of the current leader, a close ally of the regional monarch, referred to as the Oba, may want greater involvement in the venture. The protesters on that day, for case, were insisting that the facility be placed under the authority of the royal leader.

The Historical Objects Discussion

This highlights the controversial matter of the cultural artifacts, one of Africa's most renowned cultural treasures.

Because although the facility does eventually begin operations, these objects will be noticeably missing.

They are brass, ivory and timber carvings that once embellished the royal palace of the historical empire before UK forces stole them in the colonial era during a colonial invasion.

Today, thousands stay spread across galleries in Europe and North America -- such as the UK institution, European center and the American museum.

Return Initiatives

Their return has become one of the most debated conversations in the international art community. About 150 have now been returned – and additional are due to follow.

When plans for the facility in the city were first announced in recent years, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art facility to display them to the global audience.

But the waters were muddied two years ago after the national authorities stated that the royal leader would be the proper guardian of any returned bronzes – and the monarch's court advocated for a institution under the royal family's direct control, against the desires of Obaseki.

Strategic Positioning

This left Mowaa in a difficult situation: maintaining a clear stance on return while remaining diplomatic on ownership – and highlighting its broader vision, which led to|c