The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the center of local power politics during the week it was expected to – but failed – to open its doors to the visitors for the very first time.
The Ambitious Project
The six-hectare facility stands in the core of the Edo state capital, main city of the southern area of Edo – and features an excavation site and facilities designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in the US capital in 2016.
It has been 60 months in the creation – and is planned to showcase both the heritage and the present of artistic expression in the area famous for the historic artworks, cultural objects taken from the city's royal palace by UK forces in the 19th Century.
Preparation and Promise
It is remarkable – and before the scheduled opening, Mowaa was active with staff resolved to show it is a place that can rival renowned cultural centers in the Western world.
Internally conservators precisely opened art pieces from safety materials, checking each artifact and taking detailed notes before placing them on exhibition areas and plinths.
Specialists fine-tuned environmental controls. In the scientific facility, staff members adjusted instruments intended to conserve ancient artefacts.
Financial Backing and Economic Vision
The initiative has been the idea of businessman Phillip Ihenacho – currently Mowaa's executive director.
"I aim us to have a substantial economic benefit on local residents around here," he explained to media outlets, mentioning that he hoped to make Benin City "a cultural destination."
Mowaa, a non-profit national foundation, sees itself establishing more than 30,000 direct and indirect jobs and contributing above $80m per year to the area arts sector through collaborations and events.
Funding Sources and Political Challenges
It has required $25m to get here – capital collected from different contributors, including the international partners, the London institution and the regional authorities.
But currently the state authorities has revoked permission from below it – terminating the occupancy of the property on which the facility was constructed.
An government communicator explained this was because in the initial documents it had called itself Edo Museum of West African Art – and it had later dropped "the state identifier" from its title.
Protests and Political Intervention
This statement was preceded by rallies on the weekend, when protesters entered the complex demanding it be called the Museum of the Benin Kingdom.
A disruptive crowd harassed international visitors at the museum prior to the opening – forcing them to be quickly removed under official guard.
President Bola Tinubu has also intervened to attempt to settle the dispute, creating a special task force to do some damage control.
Governance Issues
But how has this evolved into so controversial – and such a reputation problem?
Much of it stems from internal conflicts at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration concluded recently – who was a major backer of the museum.
And it appears the administration of the recently elected official, a strong supporter of the local traditional ruler, referred to as the royal figure, may seek greater involvement in the initiative. The activists on Sunday, for example, were calling for that the facility be positioned under the control of Oba Ewuare II.
The Cultural Artifacts Debate
This highlights the contentious issue of the cultural artifacts, one of Africa's most renowned historical legacy.
Because even if the facility does ultimately welcome visitors, these bronzes will be noticeably missing.
They are metal, elephant tusk and wooden sculptures that once decorated the monarch's home of the historical empire before British soldiers stole them in the colonial era during a military operation.
Currently, many stay distributed across galleries in the West -- including the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.
Return Initiatives
Their repatriation has become one of the most disputed debates in the worldwide cultural sector. Approximately 150 have presently made their way home – and further are due to follow.
When ideas for the museum in the urban center were first announced in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their ideal location – a advanced facility to exhibit them to the global audience.
But the waters were muddied recently after the federal government declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the palace pushed for a facility under the royal family's direct control, opposing the wishes of Obaseki.
Diplomatic Challenges
This left Mowaa in a delicate position: asserting a specific viewpoint on repatriation while being careful on ownership – and highlighting its broader vision, which led to|c
