🔗 Share this article

The nation's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the period it was supposed to – but was unable – to welcome visitors to the general public for the first time.

The Grand Vision

The six-hectare campus sits in the heart of Benin City, main city of the southern area of Edo – and contains an historical dig and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in Washington in 2016.

It has been five years in the making – and is designed to showcase both the heritage and the current era of cultural innovation in the locale famous for the historic artworks, artworks stolen from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is notable – and prior to the planned opening, Mowaa was active with staff determined to show it is a institution that can match renowned museums and galleries in the West.

Within preservation experts carefully revealed artworks from protective packaging, checking each item and taking thorough documentation before placing them on walls and bases.

Technicians fine-tuned climate control systems. In the scientific facility, personnel adjusted instruments intended to conserve centuries-old artefacts.

Funding and Economic Goals

The initiative has been the concept of investor Phillip Ihenacho – now Mowaa's executive director.

"I want us to have a substantial economic benefit on local residents around here," he told the press, adding that he aspired to make the city "an arts hub."

Mowaa, a charitable local organization, envisions itself generating more than 30,000 work positions and adding above $80m annually to the local cultural industry through collaborations and activities.

Financial Support and Government Issues

It has needed $25m to get here – funds raised from various contributors, featuring the European governments, the London institution and the Edo state government.

But now the state authorities has pulled the rug from below it – revoking the use of the site on which the museum was built.

An Edo state spokesperson explained this was because in the early agreements it had called itself EMOWAA – and it had subsequently dropped "the state identifier" from its name.

Unrest and Official Response

This statement was preceded by demonstrations on the weekend, when activists stormed the campus demanding it be named the Royal Benin Museum.

A rowdy group confronted overseas dignitaries at the venue before the launch – forcing them to be hurried away under official guard.

Head of state Bola Tinubu has even intervened to work to address the dispute, setting up a high-level committee to manage the situation.

Administrative Challenges

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

A great deal of it comes down to local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance finished last year – who was a major backer of the museum.

And it looks like the administration of the recently elected official, a key associate of the regional monarch, called the Oba, may desire more of a stake in the venture. The activists on Sunday, for example, were insisting that the museum be positioned under the authority of Oba Ewuare II.

The Historical Objects Discussion

This brings into focus the controversial matter of the cultural artifacts, one of the region's most renowned artistic heritage.

Because even if the institution does ultimately open, these artifacts will be clearly not present.

They are brass, ivory and timber artworks that once adorned the monarch's home of the Benin Kingdom before British soldiers took them in the late nineteenth century during a colonial invasion.

Currently, many continue to be distributed across galleries in Europe and North America -- such as the British Museum, German museum and the New York institution.

Repatriation Campaigns

Their return has become one of the most debated debates in the worldwide cultural sector. About 150 have now made their way home – and additional are scheduled to be repatriated.

When ideas for the museum in Benin City were first announced in 2019, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a modern facility to exhibit them to the world.

But the waters were muddied two years ago after the central administration declared that the royal leader would be the legal custodian of returned objects – and the monarch's court campaigned for a institution under the monarch's supervision, opposing the wishes of the former governor.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a clear stance on return while staying tactful on custodianship – and emphasising its larger purpose, which led to|c