The nation's impressive new West African Art Museum (Mowaa) has found itself in the middle of local power politics during the time it was scheduled to – but did not manage – to begin operations to the visitors for the first time.
The Grand Vision
The six-hectare campus is located in the center of Benin City, administrative center of the southern state of Edo – and features an excavation site and buildings planned by renowned British-Ghanaian architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in Washington in 2016.
It has been 60 months in the making – and is planned to celebrate both the heritage and the current era of artistic expression in the locale known for the cultural artifacts, artworks taken from the king's palace by British soldiers in the nineteenth century.
Setup and Prospects
It is impressive – and prior to the anticipated opening, Mowaa was active with staff determined to demonstrate it is a place that can rival well-known cultural centers in the West.
Within conservators carefully unwrapped artworks from protective packaging, examining each artifact and taking detailed notes before placing them on display surfaces and stands.
Specialists fine-tuned climate control systems. In the research lab, staff members set up devices designed to conserve centuries-old objects.
Financial Backing and Economic Vision
The venture has been the concept of entrepreneur Phillip Ihenacho – currently Mowaa's chief executive.
"I aim us to have a major financial effect on communities around here," he explained to media outlets, noting that he aspired to make this urban center "a tourism center."
Mowaa, a not-for-profit Nigerian institution, envisions itself establishing more than 30,000 direct and indirect jobs and contributing over $80m each year to the local cultural industry through partnerships and events.
Funding Sources and Political Challenges
It has needed $25m to get here – money collected from various donors, such as the French and German governments, the British Museum and the local administration.
But currently the local government has withdrawn support from below it – canceling the utilization of the property on which the building was erected.
An official representative clarified this was because in the early agreements it had called itself the Edo-named institution – and it had since dropped "the regional name" from its title.
Protests and Political Intervention
This statement followed protests on the weekend, when activists invaded the campus insisting it be designated the Museum of the Benin Kingdom.
A rowdy crowd harassed international visitors at the venue ahead of the launch – requiring them to be quickly removed under police escort.
Head of state Bola Tinubu has additionally become involved to try and resolve the conflict, setting up a high-level committee to address the controversy.
Administrative Challenges
But how has this become so politicised – and such a PR disaster?
Much of it stems from internal conflicts at a local state level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded last year – who was a key supporter of the museum.
And it appears the government of the recently elected official, a key associate of the area king, known as the Oba, may seek more of a stake in the venture. The activists on Sunday, for instance, were insisting that the museum be positioned under the authority of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the cultural artifacts, one of Africa's most famous cultural treasures.
Because although the institution does eventually welcome visitors, these objects will be noticeably missing.
They are brass, elephant tusk and timber sculptures that once adorned the royal palace of the Benin Kingdom before British soldiers took them in 1897 during a military operation.
Today, numerous stay spread across institutions in the West -- including the London museum, German museum and the New York institution.
Return Initiatives
Their repatriation has become one of the most disputed debates in the global art world. Approximately 150 have presently made their way home – and more are scheduled to be repatriated.
When plans for the museum in the city were first announced in recent years, the influential figures on the national arts community hoped it would become their perfect venue – a advanced complex to display them to the world.
But the waters were muddied recently after the national authorities stated that the traditional ruler would be the legal custodian of repatriated artifacts – and the royal household advocated for a museum under the king's authority, opposing the wishes of the former governor.
Political Navigation
This placed Mowaa in a delicate position: maintaining a clear stance on repatriation while being careful on guardianship – and emphasising its larger purpose, which led to|c
