The nation's impressive new West African Art Museum (Mowaa) has ended up in the middle of regional political struggles during the period it was scheduled to – but failed – to open its doors to the public for the initial occasion.
The Grand Vision
The six-hectare complex sits in the center of the Edo state capital, capital of the southern region of Edo – and includes an historical dig and buildings created by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.
It has been half a decade in the development – and is envisioned to celebrate both the heritage and the modern times of creativity in the region known for the cultural artifacts, historical pieces looted from the city's royal palace by UK forces in the 19th Century.
Readiness and Potential
It is impressive – and ahead of the anticipated opening, Mowaa was active with staff resolved to demonstrate it is a place that can match renowned art institutions in the Europe and America.
Within art restorers meticulously revealed artworks from secure wrapping, inspecting each piece and taking detailed records before positioning them on walls and bases.
Specialists fine-tuned temperature regulation systems. In the research lab, personnel set up devices meant to preserve historical objects.
Investment and Economic Plans
The venture has been the brainchild of investor Phillip Ihenacho – now Mowaa's chief executive.
"I aim us to have a significant economic benefit on local residents in this region," he told journalists, mentioning that he wanted to make the city "an arts hub."
Mowaa, a not-for-profit Nigerian institution, envisions itself establishing in excess of 30,000 direct and indirect jobs and adding over $80m annually to the regional creative economy through partnerships and events.
Investment and Administrative Problems
It has needed $25m to achieve this stage – capital collected from various donors, such as the French and German governments, the UK museum and the local administration.
But currently the local government has revoked permission from under it – terminating the use of the land on which the museum was built.
An government communicator explained this was because in the early agreements it had referred to itself as EMOWAA – and it had subsequently dropped "the state identifier" from its name.
Unrest and Official Response
This announcement came after protests on the weekend, when protesters invaded the campus insisting it be named the Royal Benin Museum.
A rowdy assembly confronted overseas dignitaries at the facility prior to the inauguration – requiring them to be quickly removed under security protection.
President Bola Tinubu has also intervened to try and resolve the tensions, establishing a high-level committee to do some damage control.
Political Complexities
But in what way has this turned into so divisive – and such a PR disaster?
Much of it comes down to internecine rivalries at a local state level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded the previous year – who was a primary advocate of the museum.
And it looks like the leadership of the recently elected official, a strong supporter of the area king, referred to as the Oba, may seek more of a stake in the initiative. The demonstrators on the weekend, for example, were insisting that the museum be positioned under the authority of the royal leader.
The Historical Objects Discussion
This highlights the contentious issue of the historical artworks, one of Africa's most famous artistic heritage.
Because even if the museum does finally welcome visitors, these bronzes will be conspicuously absent.
They are brass, ivory and timber artworks that once decorated the royal palace of the Benin Kingdom before colonial troops took them in the colonial era during a punitive expedition.
Nowadays, many stay distributed across institutions in the West -- including the London museum, German museum and the American museum.
Return Initiatives
Their homecoming has become one of the most disputed conversations in the international art community. Roughly 150 have now been returned – and additional are expected to return.
When ideas for the institution in Benin City were first announced in recent years, the influential figures on Nigeria's art scene hoped it would become their ideal location – a state-of-the-art complex to show them off to the world.
But the waters were muddied recently after the national authorities stated that the traditional ruler would be the rightful owner of repatriated artifacts – and the palace pushed for a museum under the monarch's supervision, against the desires of Obaseki.
Political Navigation
This left Mowaa in a challenging circumstance: maintaining a specific viewpoint on return while remaining diplomatic on ownership – and highlighting its wider mission, which led to|c
