🔗 Share this article

Nigeria's stunning new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the period it was supposed to – but was unable – to open its doors to the visitors for the first time.

The Grand Vision

The 15-acre complex sits in the core of the Edo state capital, main city of the southern region of Edo – and features an archaeological dig and structures created by celebrated British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.

It has been 60 months in the making – and is envisioned to honor both the history and the modern times of artistic expression in the locale known for the historic artworks, artworks looted from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is remarkable – and before the anticipated opening, Mowaa was active with employees committed to show it is a place that can match renowned cultural centers in the Western world.

Inside preservation experts precisely revealed artworks from secure wrapping, inspecting each piece and taking detailed records before positioning them on walls and bases.

Experts fine-tuned temperature regulation systems. In the scientific facility, personnel set up instruments designed to conserve ancient artefacts.

Financial Backing and Economic Vision

The project has been the idea of investor Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a significant economic impact on communities in this region," he told media outlets, noting that he aspired to make this urban center "a tourism center."

Mowaa, a not-for-profit local organization, envisions itself establishing more than 30,000 work positions and adding above $80m annually to the local cultural industry through partnerships and programming.

Funding Sources and Political Challenges

It has taken $25m to reach this point – money raised from different supporters, including the French and German governments, the UK museum and the regional authorities.

But at present the state authorities has withdrawn support from below it – terminating the occupancy of the land on which the facility was constructed.

An government communicator explained this was because in the original paperwork it had called itself EMOWAA – and it had later eliminated "the state identifier" from its designation.

Unrest and Official Response

This statement followed demonstrations on the weekend, when people stormed the complex insisting it be named the Museum of the Benin Kingdom.

A boisterous assembly insulted international visitors at the venue ahead of the inauguration – compelling them to be quickly removed under security protection.

President Bola Tinubu has also intervened to work to address the conflict, creating a presidential committee to address the controversy.

Governance Issues

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

The majority 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 finished recently – who was a primary advocate of the initiative.

And it appears the government of the current leader, a close ally of the local traditional ruler, called the traditional leader, may desire increased control in the initiative. The protesters on the weekend, for case, were calling for that the facility be positioned under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the disputed topic of the historical artworks, one of the region's most renowned historical legacy.

Because even if the institution does finally welcome visitors, these objects will be conspicuously absent.

They are brass, ivory and timber sculptures that once adorned the king's residence of the ancient kingdom before UK forces looted them in 1897 during a colonial invasion.

Currently, many continue to be distributed across museums in Europe and North America -- such as the UK institution, European center and the New York institution.

Return Initiatives

Their repatriation has become one of the most disputed conversations in the global art world. Roughly 150 have now been returned – and additional are expected to return.

When ideas for the institution in Benin City were originally proposed in 2019, the key players on the country's cultural sector anticipated it would become their perfect venue – a advanced campus to show them off to the world.

But the issues became confused recently after the national authorities declared that the royal leader would be the rightful owner of returned objects – and the monarch's court advocated for a facility under the monarch's supervision, opposing the wishes of the ex-leader.

Strategic Positioning

This placed Mowaa in a difficult situation: expressing a clear stance on repatriation while being careful on guardianship – and highlighting its wider mission, which led to|c