The nation's stunning new Art Museum of West Africa (Mowaa) has ended up in the center of local power politics during the week it was expected to – but did not manage – to open its doors to the public for the very first time.
The Grand Vision
The 15-acre campus stands in the core of Benin's urban center, capital of the southern state of Edo – and includes an historical dig and facilities designed by celebrated dual heritage architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that was inaugurated in Washington in 2016.
It has been half a decade in the making – and is designed to honor both the past and the current era of artistic expression in the area famous for the Benin Bronzes, artworks taken from the royal palace by British soldiers in the 19th Century.
Preparation and Promise
It is remarkable – and prior to the scheduled opening, Mowaa was energetic with employees determined to show it is a venue that can match established art institutions in the West.
Inside conservators meticulously revealed art pieces from secure wrapping, examining each item and taking meticulous documentation before positioning them on exhibition areas and stands.
Experts calibrated climate control systems. In the research lab, officers calibrated devices designed to maintain centuries-old objects.
Financial Backing and Economic Vision
The initiative has been the concept of investor Phillip Ihenacho – currently Mowaa's managing director.
"I want us to have a major economic impact on communities in this region," he explained to the press, adding that he wanted to make the city "a tourism center."
Mowaa, a non-profit Nigerian institution, aims at creating over 30,000 direct and indirect jobs and contributing over $80m annually to the area arts sector through alliances and programming.
Investment and Administrative Problems
It has required $25m to achieve this stage – capital gathered from multiple contributors, such as the international partners, the UK museum and the regional authorities.
But at present the local government has withdrawn support from under it – terminating the use of the site on which the building was erected.
An Edo state spokesperson clarified this was because in the initial documents it had called itself Edo Museum of West African Art – and it had later eliminated "the regional name" from its name.
Unrest and Official Response
This declaration was preceded by rallies on the weekend, when protesters stormed the complex insisting it be called the Royal Benin Museum.
A rowdy group harassed overseas dignitaries at the facility prior to the launch – requiring them to be escorted out under security protection.
Head of state Bola Tinubu has even become involved to work to address the conflict, setting up a presidential committee to manage the situation.
Political Complexities
But in what way has this evolved into so politicised – and such a public relations crisis?
Much of it stems from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration ended last year – who was a key supporter of the museum.
And it seems the leadership of the current leader, a strong supporter of the regional monarch, known as the traditional leader, may desire increased control in the venture. The activists on that day, for case, were insisting that the facility be positioned under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This highlights the contentious issue of the historical artworks, one of the continent's most famous artistic heritage.
Because even if the facility does eventually begin operations, these objects will be noticeably missing.
They are metal, ivory and wooden sculptures that once adorned the royal palace of the ancient kingdom before colonial troops looted them in the colonial era during a military operation.
Currently, numerous continue to be scattered across galleries in Europe and North America -- including the London museum, European center and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most debated debates in the international art community. About 150 have presently made their way home – and more are due to follow.
When ideas for the facility in the city were first announced in recent years, the key players on the country's cultural sector anticipated it would become their natural home – a state-of-the-art complex to exhibit them to the global audience.
But the waters were muddied recently after the national authorities announced that the traditional ruler would be the proper guardian of returned objects – and the royal household pushed for a institution under the royal family's direct control, contrary to the wishes of Obaseki.
Strategic Positioning
This left Mowaa in a delicate position: maintaining a specific viewpoint on return while staying tactful on ownership – and emphasising its broader vision, which led to|c
