🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has landed in the middle of regional political struggles during the week it was expected to – but was unable – to begin operations to the general public for the first time.

The Ambitious Project

The 15-acre campus stands in the heart of Benin City, main city of the southern state of Edo – and features an archaeological dig and structures created by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been 60 months in the making – and is envisioned to honor both the heritage and the current era of creativity in the area renowned for the Benin Bronzes, artworks looted from the king's palace by British troops in the 1800s.

Readiness and Potential

It is notable – and prior to the anticipated opening, Mowaa was buzzing with staff determined to show it is a place that can match renowned museums and galleries in the Western world.

Inside art restorers meticulously revealed art pieces from secure wrapping, inspecting each piece and taking thorough documentation before positioning them on walls and stands.

Technicians calibrated environmental controls. In the research lab, personnel adjusted devices meant to conserve historical objects.

Funding and Economic Goals

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

"I aim us to have a significant financial effect on area populations in this region," he told media outlets, noting that he wanted to make Benin City "a cultural destination."

Mowaa, a not-for-profit local organization, envisions itself generating in excess of 30,000 direct and indirect jobs and providing over $80m each year to the regional creative economy through partnerships and events.

Investment and Administrative Problems

It has required $25m to reach this point – funds gathered from various supporters, including the French and German governments, the UK museum and the local administration.

But currently the state authorities has revoked permission from under it – terminating the occupancy of the property on which the facility was constructed.

An Edo state spokesperson clarified this was because in the early agreements it had referred to itself as EMOWAA – and it had later eliminated "the state identifier" from its title.

Unrest and Official Response

This declaration was preceded by protests on the weekend, when activists entered the complex calling for it be designated the Museum of the Benin Kingdom.

A rowdy crowd insulted foreign guests at the museum before the inauguration – compelling them to be hurried away under security protection.

National leader Bola Tinubu has even stepped in to try and resolve the dispute, setting up a special task force to manage the situation.

Political Complexities

But how has this turned into so politicised – and such a reputation problem?

The majority of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose governance finished last year – who was a major backer of the project.

And it looks like the leadership of the recently elected official, a close ally of the area king, referred to as the Oba, may want more of a stake in the initiative. The protesters on that day, for case, were insisting that the institution be positioned under the authority of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of the region's most renowned artistic heritage.

Because even if the museum does finally welcome visitors, these objects will be clearly not present.

They are brass, elephant tusk and timber sculptures that once embellished the royal palace of the ancient kingdom before colonial troops took them in the colonial era during a military operation.

Currently, thousands remain spread across galleries in Europe and North America -- featuring the British Museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their homecoming has become one of the most disputed conversations in the international art community. Approximately 150 have currently made their way home – and more are scheduled to be repatriated.

When plans for the institution in Benin City were originally proposed in 2019, the key players on Nigeria's art scene anticipated it would become their ideal location – a advanced facility to display them to the world.

But the issues became confused recently after the central administration stated that the royal leader would be the rightful owner of returned objects – and the palace advocated for a museum under the monarch's supervision, contrary to the wishes of the former governor.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: maintaining a definite position on restitution while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c