The nation's impressive new West African Art Museum (Mowaa) has landed in the center of local power politics during the period it was scheduled to – but was unable – to welcome visitors to the general public for the very first time.
The Ambitious Project
The 15-acre campus stands in the center of Benin City, main city of the southern state of Edo – and includes an archaeological dig and buildings designed by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington in 2016.
It has been half a decade in the making – and is planned to honor both the history and the current era of creativity in the area famous for the Benin Bronzes, historical pieces looted from the royal palace by British soldiers in the 19th Century.
Setup and Prospects
It is impressive – and prior to the planned opening, Mowaa was energetic with staff determined to show it is a place that can compete with renowned museums and galleries in the Europe and America.
Internally conservators carefully unwrapped art pieces from protective packaging, inspecting each piece and taking meticulous documentation before arranging them on walls and bases.
Specialists adjusted climate control systems. In the materials science laboratory, staff members calibrated equipment meant to preserve historical items.
Investment and Economic Plans
The project has been the concept of investor Phillip Ihenacho – presently Mowaa's executive director.
"I hope us to have a substantial economic impact on area populations around here," he told media outlets, adding that he hoped to make this urban center "an arts hub."
Mowaa, a not-for-profit local organization, sees itself creating more than 30,000 direct and indirect jobs and providing above $80m per year to the local cultural industry through partnerships and activities.
Financial Support and Government Issues
It has taken $25m to achieve this stage – funds gathered from various contributors, including the French and German governments, the British Museum and the local administration.
But now the state authorities has withdrawn support from under it – terminating the occupancy of the site on which the facility was constructed.
An Edo state spokesperson explained this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its name.
Demonstrations and Government Action
This statement followed demonstrations on recently, when protesters entered the facility demanding it be designated the Benin Royal Museum.
A disruptive group harassed overseas dignitaries at the museum prior to the inauguration – forcing them to be escorted out under police escort.
Head of state Bola Tinubu has even stepped in to try and resolve the conflict, establishing a special task force to manage the situation.
Governance Issues
But why has this evolved into so politicised – and such a reputation problem?
Much of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded the previous year – who was a primary advocate of the project.
And it appears the leadership of the current leader, a close ally of the local traditional ruler, known as the traditional leader, may desire more of a stake in the initiative. The demonstrators on the weekend, for case, were calling for that the museum be positioned under the control of the royal leader.
The Benin Bronzes Controversy
This brings into focus the contentious issue of the cultural artifacts, one of the continent's most famous artistic heritage.
Because even if the facility does finally begin operations, these bronzes will be conspicuously absent.
They are brass, elephant tusk and wooden sculptures that once embellished the monarch's home of the ancient kingdom before UK forces looted them in the late nineteenth century during a military operation.
Today, many remain spread across institutions in the West -- including the UK institution, European center and the Metropolitan Museum of Art.
Repatriation Campaigns
Their return has become one of the most contested conversations in the global art world. About 150 have currently been returned – and further are expected to return.
When plans for the facility in Benin City were initially revealed in 2019, the movers and shakers on Nigeria's art scene anticipated it would become their perfect venue – a advanced facility to show them off to the global audience.
But the issues became confused two years ago after the federal government declared that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court pushed for a facility under the royal family's direct control, contrary to the preferences of the ex-leader.
Diplomatic Challenges
This left Mowaa in a challenging circumstance: asserting a clear stance on restitution while staying tactful on guardianship – and highlighting its wider mission, which led to|c
