🔗 Share this article

The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of area political conflicts during the week it was scheduled to – but failed – to open its doors to the general public for the initial occasion.

The Ambitious Project

The large-scale facility stands in the heart of Benin's urban center, main city of the southern area of Edo – and features an archaeological dig and structures created by high-profile Ghanaian-British 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 creation – and is envisioned to celebrate both the heritage and the present of creativity in the area renowned for the historic artworks, artworks looted from the royal palace by British soldiers in the 19th Century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with employees committed to show it is a venue that can compete with established museums and galleries in the Europe and America.

Internally preservation experts precisely unwrapped cultural items from safety materials, inspecting each item and taking meticulous documentation before arranging them on walls and plinths.

Technicians fine-tuned climate control systems. In the scientific facility, staff members adjusted devices meant to maintain centuries-old objects.

Investment and Economic Plans

The initiative has been the idea of investor Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a significant economic benefit on area populations around here," he explained to the press, noting that he aspired to make the city "an arts hub."

Mowaa, a charitable national foundation, sees itself generating more than 30,000 direct and indirect jobs and adding over $80m annually to the local cultural industry through partnerships and programming.

Financial Support and Government Issues

It has needed $25m to reach this point – capital raised from multiple donors, including the French and German governments, the London institution and the Edo state government.

But currently the state authorities has withdrawn support from under it – revoking the occupancy of the site on which the building was erected.

An government communicator explained this was because in the original paperwork it had identified as the Edo-named institution – and it had later removed "Edo" from its title.

Protests and Political Intervention

This announcement followed demonstrations on Sunday, when activists stormed the complex demanding it be called the Museum of the Benin Kingdom.

A boisterous group confronted overseas dignitaries at the museum ahead of the launch – requiring them to be escorted out under police escort.

National leader Bola Tinubu has even become involved to try and resolve the dispute, setting up a high-level committee to do some damage control.

Governance Issues

But how has this become so divisive – and such a PR disaster?

Much of it results from local power struggles 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 looks like the administration of the current leader, a close ally of the regional monarch, known as the Oba, may seek increased control in the initiative. The protesters on Sunday, for instance, were calling for that the institution be positioned under the supervision of the current Oba.

The Cultural Artifacts Debate

This emphasizes the controversial matter of the Benin Bronzes, one of the region's most renowned artistic heritage.

Because although the institution does ultimately welcome visitors, these bronzes will be noticeably missing.

They are brass, elephant tusk and timber sculptures that once adorned the royal palace of the historical empire before British soldiers took them in the colonial era during a punitive expedition.

Nowadays, thousands stay scattered across galleries in the West -- such as the British Museum, Berlin's Humboldt Forum and the American museum.

Restitution Efforts

Their homecoming has become one of the most contested debates in the international art community. About 150 have currently come back – and further are scheduled to be repatriated.

When plans for the institution in the city were first announced in the pre-pandemic era, the movers and shakers on the national arts community hoped it would become their natural home – a advanced complex to show them off to the global audience.

But the issues became confused recently after the national authorities stated that the Oba would be the rightful owner of repatriated artifacts – and the palace pushed for a museum under the king's authority, contrary to the desires of Obaseki.

Diplomatic Challenges

This placed Mowaa in a delicate position: maintaining a definite position on return while staying tactful on ownership – and emphasising its wider mission, which led to|c