The nation's stunning new West African Art Museum (Mowaa) has found itself in the center of local power politics during the week it was expected to – but did not manage – to begin operations to the general public for the first time.
The Ambitious Project
The 15-acre facility stands in the heart of Benin City, capital of the southern state of Edo – and features an archaeological dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in Washington DC in 2016.
It has been 60 months in the development – and is designed to celebrate both the history and the current era of artistic expression in the area famous for the historic artworks, historical pieces looted from the city's royal palace by British soldiers in the 19th Century.
Readiness and Potential
It is impressive – and prior to the anticipated opening, Mowaa was buzzing with workers determined to demonstrate it is a institution that can rival established art institutions in the Western world.
Internally conservators meticulously opened cultural items from secure wrapping, checking each item and taking thorough notes before placing them on walls and plinths.
Technicians fine-tuned climate control systems. In the research lab, personnel adjusted devices intended to maintain centuries-old artefacts.
Investment and Economic Plans
The initiative has been the brainchild of investor Phillip Ihenacho – presently Mowaa's managing director.
"I aim us to have a substantial economic benefit on local residents around here," he explained to the press, mentioning that he aspired to make the city "an arts hub."
Mowaa, a not-for-profit Nigerian institution, sees itself establishing in excess of 30,000 work positions and contributing above $80m each year to the local cultural industry through collaborations and programming.
Funding Sources and Political Challenges
It has taken $25m to reach this point – money gathered from multiple supporters, featuring the international partners, the UK museum and the Edo state government.
But at present the state authorities has revoked permission from beneath it – revoking the occupancy of the site on which the museum was built.
An Edo state spokesperson explained this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had since dropped "the state identifier" from its title.
Protests and Political Intervention
This declaration came after protests on the weekend, when protesters stormed the complex calling for it be named the Royal Benin Museum.
A boisterous group confronted overseas dignitaries at the museum ahead of the opening – compelling them to be quickly removed under official guard.
President Bola Tinubu has even intervened to attempt to settle the conflict, setting up a special task force to address the controversy.
Political Complexities
But how has this evolved into so politicised – and such a PR disaster?
The majority of it stems from internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration finished the previous year – who was a primary advocate of the project.
And it appears the administration of the recently elected official, a strong supporter of the local traditional ruler, called the traditional leader, may desire increased control in the venture. The protesters on the weekend, for example, were calling for that the institution be put under the authority of Oba Ewuare II.
The Cultural Artifacts Debate
This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most celebrated artistic heritage.
Because although the facility does ultimately open, these artifacts will be clearly not present.
They are brass, ivory and wooden carvings that once decorated the royal palace of the historical empire before colonial troops stole them in 1897 during a colonial invasion.
Today, many stay scattered across museums in Western nations -- including the UK institution, German museum and the New York institution.
Restitution Efforts
Their return has become one of the most disputed debates in the worldwide cultural sector. Roughly 150 have presently made their way home – and further are due to follow.
When proposals for the museum in Benin City were first announced in recent years, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a modern facility to exhibit them to the international community.
But the issues became confused recently after the national authorities announced that the royal leader would be the legal custodian of any returned bronzes – and the monarch's court campaigned for a facility under the king's authority, contrary to the desires of the former governor.
Strategic Positioning
This left Mowaa in a delicate position: maintaining a definite position on restitution while being careful on custodianship – and emphasising its wider mission, which led to|c
