🔗 Share this article

Nigeria's stunning new West African Art Museum (Mowaa) has ended up in the crosshairs of area political conflicts during the period it was expected to – but was unable – to begin operations to the public for the very first time.

The Ambitious Project

The 15-acre facility sits in the core of the Edo state capital, administrative center of the southern state of Edo – and contains an archaeological dig and structures planned by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in Washington in 2016.

It has been five years in the creation – and is designed to celebrate both the history and the present of artistic expression in the region famous for the Benin Bronzes, artworks stolen from the king's palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and ahead of the scheduled opening, Mowaa was energetic with staff determined to show it is a institution that can compete with renowned cultural centers in the Europe and America.

Internally art restorers carefully revealed cultural items from protective packaging, checking each artifact and taking thorough notes before positioning them on display surfaces and stands.

Technicians adjusted temperature regulation systems. In the research lab, staff members calibrated equipment designed to preserve ancient objects.

Financial Backing and Economic Vision

The venture has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a substantial economic impact on local residents in the vicinity," he stated to the press, adding that he hoped to make the city "a cultural destination."

Mowaa, a not-for-profit national foundation, aims at creating over 30,000 direct and indirect jobs and providing over $80m per year to the area arts sector through alliances and events.

Investment and Administrative Problems

It has needed $25m to achieve this stage – money raised from different contributors, such as the international partners, the UK museum and the Edo state government.

But currently the local government has withdrawn support from under it – revoking the occupancy of the property on which the facility was constructed.

An Edo state spokesperson stated this was because in the initial documents it had identified as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its title.

Unrest and Official Response

This statement was preceded by rallies on Sunday, when activists entered the complex calling for it be designated the Royal Benin Museum.

A rowdy crowd confronted foreign guests at the museum prior to the opening – requiring them to be hurried away under security protection.

National leader Bola Tinubu has even become involved to work to address the conflict, establishing a special task force to address the controversy.

Governance Issues

But in what way has this evolved into so controversial – and such a PR disaster?

A great deal of it stems from internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration ended the previous year – who was a major backer of the museum.

And it seems the leadership of the current leader, a key associate of the regional monarch, called the traditional leader, may want greater involvement in the initiative. The protesters on Sunday, for example, were insisting that the facility be placed under the supervision of the current Oba.

The Benin Bronzes Controversy

This highlights the disputed topic of the cultural artifacts, one of the continent's most renowned historical legacy.

Because even if the museum does ultimately open, these objects will be noticeably missing.

They are metal, ivory and timber carvings that once decorated the king's residence of the ancient kingdom before British soldiers took them in 1897 during a military operation.

Today, thousands remain scattered across galleries in the West -- featuring the London museum, German museum and the American museum.

Return Initiatives

Their homecoming has become one of the most contested conversations in the worldwide cultural sector. About 150 have currently made their way home – and further are scheduled to be repatriated.

When ideas for the facility in the urban center were first announced in recent years, the movers and shakers on Nigeria's art scene anticipated it would become their perfect venue – a advanced campus to exhibit them to the world.

But the waters were muddied recently after the federal government stated that the Oba would be the proper guardian of any returned bronzes – and the royal household pushed for a institution under the king's authority, against the wishes of Obaseki.

Political Navigation

This placed Mowaa in a challenging circumstance: asserting a specific viewpoint on restitution while remaining diplomatic on ownership – and highlighting its larger purpose, which led to|c