Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the period it was expected to – but was unable – to open its doors to the public for the initial occasion.
The Ambitious Project
The large-scale facility sits in the heart of the Edo state capital, main city of the southern area of Edo – and contains an archaeological dig and facilities planned by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Smithsonian African American Museum that began operations in Washington DC in 2016.
It has been five years in the making – and is envisioned to showcase both the past and the present of creativity in the locale renowned for the Benin Bronzes, historical pieces taken from the city's royal palace by UK forces in the 19th Century.
Preparation and Promise
It is impressive – and ahead of the anticipated opening, Mowaa was active with workers determined to prove it is a institution that can compete with well-known museums and galleries in the West.
Inside conservators carefully unwrapped art pieces from protective packaging, inspecting each artifact and taking meticulous notes before arranging them on display surfaces and plinths.
Specialists adjusted temperature regulation systems. In the research lab, personnel adjusted instruments meant to conserve centuries-old artefacts.
Financial Backing and Economic Vision
The project has been the concept of investor Phillip Ihenacho – now Mowaa's chief executive.
"I want us to have a major economic benefit on local residents in the vicinity," he stated to journalists, noting that he aspired to make the city "an arts hub."
Mowaa, a non-profit Nigerian institution, aims at generating more than 30,000 direct and indirect jobs and providing more than $80m per year to the area arts sector through partnerships and events.
Investment and Administrative Problems
It has required $25m to reach this point – money collected from different supporters, including the French and German governments, the British Museum and the regional authorities.
But now the regional administration has revoked permission from under it – canceling the use of the property on which the building was erected.
An Edo state spokesperson clarified this was because in the early agreements it had identified as EMOWAA – and it had subsequently dropped "the regional name" from its title.
Demonstrations and Government Action
This declaration was preceded by demonstrations on the weekend, when people invaded the campus demanding it be designated the Royal Benin Museum.
A rowdy assembly insulted overseas dignitaries at the museum prior to the launch – requiring them to be quickly removed under security protection.
President Bola Tinubu has even become involved to work to address the tensions, establishing a special task force to do some damage control.
Administrative Challenges
But why has this become so politicised – and such a PR disaster?
The majority of it stems from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended the previous year – who was a primary advocate of the project.
And it seems the administration of the recently elected official, a close ally of the area king, known as the traditional leader, may seek increased control in the venture. The protesters on the weekend, for instance, were insisting that the museum be put 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 continent's most celebrated cultural treasures.
Because although the facility does finally welcome visitors, these objects will be conspicuously absent.
They are brass, elephant tusk and wooden sculptures that once adorned the royal palace of the Benin Kingdom before UK forces looted them in 1897 during a military operation.
Currently, many remain spread across galleries in Europe and North America -- including the UK institution, European center and the New York institution.
Return Initiatives
Their homecoming has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have now made their way home – and further are scheduled to be repatriated.
When ideas for the institution in the urban center were initially revealed in recent years, the movers and shakers on the national arts community expected it would become their ideal location – a advanced complex to exhibit them to the world.
But the issues became confused two years ago after the central administration announced that the traditional ruler would be the rightful owner of returned objects – and the royal household advocated for a museum under the king's authority, against the preferences of Obaseki.
Diplomatic Challenges
This left Mowaa in a difficult situation: asserting a specific viewpoint on repatriation while staying tactful on ownership – and highlighting its wider mission, which led to|c
