The nation's remarkable new West African Art Museum (Mowaa) has found itself in the center of local power politics during the week it was supposed to – but failed – to open its doors to the public for the first time.
The Major Initiative
The 15-acre complex stands in the heart of Benin City, capital of the southern state of Edo – and includes an archaeological dig and buildings created by renowned dual heritage architect Sir David Adjaye, most famous for the Washington African American Museum that was inaugurated in Washington DC in 2016.
It has been half a decade in the development – and is designed to celebrate both the heritage and the modern times of creativity in the region famous for the historic artworks, cultural objects stolen from the city's royal palace by British soldiers in the 1800s.
Readiness and Potential
It is remarkable – and ahead of the planned opening, Mowaa was buzzing with workers resolved to demonstrate it is a venue that can compete with well-known museums and galleries in the Europe and America.
Internally art restorers meticulously revealed artworks from protective packaging, checking each piece and taking detailed notes before positioning them on exhibition areas and stands.
Specialists adjusted climate control systems. In the scientific facility, personnel adjusted devices meant to maintain ancient items.
Funding and Economic Goals
The initiative has been the idea of businessman Phillip Ihenacho – presently Mowaa's managing director.
"I hope us to have a significant economic impact on local residents in the vicinity," he told the press, adding that he aspired to make this urban center "a cultural destination."
Mowaa, a charitable national foundation, aims at generating more than 30,000 employment opportunities and adding above $80m each year to the local cultural industry through collaborations and events.
Funding Sources and Political Challenges
It has required $25m to get here – funds gathered from multiple contributors, featuring the French and German governments, the UK museum and the local administration.
But at present the local government has withdrawn support from under it – canceling the use of the land on which the museum was built.
An government communicator stated this was because in the early agreements it had referred to itself as the Edo-named institution – and it had since eliminated "the regional name" from its name.
Unrest and Official Response
This announcement followed rallies on Sunday, when protesters entered the facility calling for it be called the Royal Benin Museum.
A disruptive group harassed overseas dignitaries at the venue prior to the opening – compelling them to be hurried away under official guard.
National leader Bola Tinubu has also intervened to try and resolve the conflict, establishing a high-level committee to do some damage control.
Governance Issues
But in what way has this turned into so divisive – and such a PR disaster?
Much of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded last year – who was a primary advocate of the project.
And it appears the leadership of the current leader, a key associate of the area king, called the Oba, may want more of a stake in the project. The demonstrators on Sunday, for example, were demanding that the facility be positioned under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the Benin Bronzes, one of Africa's most renowned historical legacy.
Because although the museum does eventually begin operations, these bronzes will be conspicuously absent.
They are brass, elephant tusk and timber carvings that once decorated the monarch's home of the ancient kingdom before British soldiers took them in 1897 during a military operation.
Nowadays, thousands remain spread across museums in Europe and North America -- including the UK institution, European center and the American museum.
Restitution Efforts
Their homecoming has become one of the most contested discussions in the global art world. Roughly 150 have currently been returned – and additional are scheduled to be repatriated.
When proposals for the museum in the city were initially revealed in recent years, the key players on Nigeria's art scene hoped it would become their natural home – a modern complex to display them to the world.
But the waters were muddied recently after the central administration announced that the traditional ruler would be the legal custodian of returned objects – and the monarch's court pushed for a facility under the royal family's direct control, against the wishes of the former governor.
Diplomatic Challenges
This placed Mowaa in a difficult situation: asserting a clear stance on restitution while being careful on custodianship – and highlighting its wider mission, which led to|c
