🔗 Share this article

Nigeria's remarkable new Art Museum of West Africa (Mowaa) has ended up in the middle of regional political struggles during the week it was scheduled to – but did not manage – to welcome visitors to the public for the initial occasion.

The Major Initiative

The large-scale complex is located in the center of Benin City, capital of the southern region of Edo – and contains an archaeological dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, best known for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been half a decade in the making – and is planned to celebrate both the past and the modern times of cultural innovation in the area renowned for the historic artworks, cultural objects taken from the king's palace by British troops in the 19th Century.

Readiness and Potential

It is remarkable – and ahead of the planned opening, Mowaa was energetic with staff determined to demonstrate it is a institution that can compete with well-known art institutions in the Europe and America.

Internally conservators carefully unwrapped art pieces from secure wrapping, checking each item and taking meticulous records before positioning them on walls and plinths.

Specialists adjusted temperature regulation systems. In the scientific facility, officers adjusted instruments meant to conserve ancient items.

Investment and Economic Plans

The initiative has been the idea of investor Phillip Ihenacho – currently Mowaa's managing director.

"I hope us to have a major economic benefit on communities in this region," he told media outlets, mentioning that he wanted to make this urban center "a cultural destination."

Mowaa, a charitable Nigerian institution, envisions itself creating over 30,000 work positions and contributing above $80m each year to the local cultural industry through collaborations and activities.

Funding Sources and Political Challenges

It has required $25m to get here – capital collected from various supporters, such as the French and German governments, the British Museum and the local administration.

But now the local government has pulled the rug from beneath it – terminating the occupancy of the site on which the museum was built.

An official representative stated this was because in the early agreements it had identified as the Edo-named institution – and it had later removed "the state identifier" from its title.

Unrest and Official Response

This announcement was preceded by protests on the weekend, when activists entered the complex insisting it be designated the Benin Royal Museum.

A disruptive crowd confronted international visitors at the facility prior to the opening – compelling them to be escorted out under official guard.

Head of state Bola Tinubu has also intervened to try and resolve the conflict, creating a high-level committee to address the controversy.

Governance Issues

But why has this evolved into so controversial – and such a reputation problem?

The majority of it results from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a key supporter of the project.

And it looks like the government of the new governor, a close ally of the area king, referred to as the Oba, may want more of a stake in the project. The demonstrators on the weekend, for instance, were demanding that the museum be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the cultural artifacts, one of the continent's most celebrated historical legacy.

Because although the institution does eventually begin operations, these bronzes will be noticeably missing.

They are metal, elephant tusk and wooden artworks that once embellished the monarch's home of the ancient kingdom before UK forces took them in the late nineteenth century during a colonial invasion.

Today, many remain scattered across galleries in the West -- featuring the UK institution, European center and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most contested conversations in the global art world. Approximately 150 have currently come back – and additional are expected to return.

When proposals for the museum in Benin City were first announced in 2019, the influential figures on the national arts community expected it would become their natural home – a modern facility to display them to the global audience.

But the issues became confused recently after the national authorities stated that the royal leader would be the rightful owner of repatriated artifacts – and the palace pushed for a institution under the monarch's supervision, opposing the desires of the former governor.

Political Navigation

This left Mowaa in a difficult situation: asserting a definite position on return while staying tactful on guardianship – and highlighting its broader vision, which led to|c