🔗 Share this article

The nation's stunning new Museum of West African Art (Mowaa) has ended up in the middle of area political conflicts during the period it was scheduled to – but failed – to welcome visitors to the public for the very first time.

The Grand Vision

The 15-acre facility sits in the core of Benin's urban center, capital of the southern state of Edo – and contains an excavation site and structures designed by high-profile dual heritage architect Sir David Adjaye, best known for the National Museum of African American History and Culture that began operations in the US capital in 2016.

It has been five years in the creation – and is planned to showcase both the past and the modern times of artistic expression in the region known for the Benin Bronzes, artworks looted from the king's palace by British soldiers in the 1800s.

Readiness and Potential

It is notable – and prior to the planned opening, Mowaa was buzzing with workers resolved to demonstrate it is a venue that can rival renowned art institutions in the West.

Within conservators carefully unwrapped artworks from secure wrapping, examining each piece and taking detailed records before placing them on display surfaces and plinths.

Specialists fine-tuned environmental controls. In the scientific facility, officers calibrated equipment intended to maintain centuries-old objects.

Funding and Economic Goals

The project has been the concept of businessman Phillip Ihenacho – now Mowaa's managing director.

"I hope us to have a substantial financial effect on local residents around here," he stated to journalists, adding that he hoped to make Benin City "an arts hub."

Mowaa, a non-profit national foundation, envisions itself establishing in excess of 30,000 direct and indirect jobs and contributing above $80m each year to the regional creative economy through collaborations and activities.

Investment and Administrative Problems

It has required $25m to achieve this stage – funds collected from multiple donors, including the European governments, the London institution and the regional authorities.

But now the local government has revoked permission from under it – revoking the use of the property on which the building was erected.

An Edo state spokesperson clarified this was because in the initial documents it had called itself EMOWAA – and it had later dropped "Edo" from its name.

Demonstrations and Government Action

This announcement followed rallies on recently, when people stormed the complex insisting it be named the Royal Benin Museum.

A rowdy assembly harassed foreign guests at the facility ahead of the opening – requiring them to be hurried away under official guard.

Head of state Bola Tinubu has even intervened to try and resolve the tensions, establishing a presidential committee to manage the situation.

Administrative Challenges

But in what way has this turned into so divisive – and such a PR disaster?

Much of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended last year – who was a major backer of the project.

And it appears the leadership of the new governor, a close ally of the regional monarch, known as the traditional leader, may desire greater involvement in the project. The protesters on the weekend, for example, were demanding that the museum be put under the control of the royal leader.

The Benin Bronzes Controversy

This highlights the controversial matter of the cultural artifacts, one of the region's most celebrated cultural treasures.

Because although the facility does eventually welcome visitors, these bronzes will be clearly not present.

They are brass, elephant tusk and timber artworks that once decorated the royal palace of the historical empire before UK forces stole them in the colonial era during a punitive expedition.

Today, numerous stay scattered across galleries in Europe and North America -- such as the London museum, European center and the Metropolitan Museum of Art.

Restitution Efforts

Their repatriation has become one of the most contested discussions in the global art world. Approximately 150 have currently made their way home – and more are due to follow.

When plans for the institution in the city were initially revealed in recent years, the key players on the national arts community anticipated it would become their ideal location – a modern facility to display them to the world.

But the situation became complicated two years ago after the national authorities announced that the Oba would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a facility under the king's authority, opposing the desires of the ex-leader.

Political Navigation

This placed Mowaa in a delicate position: expressing a clear stance on restitution while being careful on custodianship – and emphasising its broader vision, which led to|c