The nation's impressive new Art Museum of West Africa (Mowaa) has found itself in the center of local power politics during the week it was scheduled to – but did not manage – to open its doors to the general public for the initial occasion.
The Grand Vision
The large-scale campus stands in the center of Benin's urban center, administrative center of the southern state of Edo – and contains an archaeological dig and structures planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington in 2016.
It has been five years in the making – and is envisioned to showcase both the heritage and the present of creativity in the locale known for the cultural artifacts, cultural objects looted from the royal palace by British soldiers in the nineteenth century.
Preparation and Promise
It is remarkable – and ahead of the planned opening, Mowaa was active with workers determined to prove it is a venue that can match well-known museums and galleries in the West.
Internally art restorers carefully revealed art pieces from safety materials, inspecting each artifact and taking thorough documentation before arranging them on walls and stands.
Technicians fine-tuned environmental controls. In the scientific facility, staff members calibrated equipment designed to conserve historical artefacts.
Investment and Economic Plans
The project has been the concept of investor Phillip Ihenacho – now Mowaa's managing director.
"I hope us to have a substantial economic benefit on local residents around here," he told the press, adding that he aspired to make the city "a cultural destination."
Mowaa, a charitable national foundation, envisions itself establishing over 30,000 employment opportunities and contributing over $80m each year to the area arts sector through alliances and activities.
Financial Support and Government Issues
It has needed $25m to get here – funds raised from different contributors, featuring the European governments, the UK museum and the local administration.
But at present the state authorities has revoked permission from under it – canceling the use of the land on which the building was erected.
An official representative clarified this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since removed "Edo" from its name.
Unrest and Official Response
This declaration followed rallies on the weekend, when protesters stormed the campus demanding it be named the Benin Royal Museum.
A boisterous group harassed foreign guests at the venue before the inauguration – forcing them to be quickly removed under official guard.
President Bola Tinubu has even stepped in to try and resolve the conflict, setting up a presidential committee to do some damage control.
Political Complexities
But why has this turned into so politicised – and such a PR disaster?
The majority of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose governance ended the previous year – who was a key supporter of the initiative.
And it appears the leadership of the recently elected official, a strong supporter of the regional monarch, referred to as the royal figure, may seek greater involvement in the initiative. The protesters on that day, for example, were demanding that the museum be placed under the authority of the royal leader.
The Historical Objects Discussion
This emphasizes the contentious issue of the Benin Bronzes, one of the region's most celebrated cultural treasures.
Because although the institution does finally begin operations, these objects will be conspicuously absent.
They are metal, ivory and wooden artworks that once decorated the monarch's home of the historical empire before British soldiers took them in the late nineteenth century during a colonial invasion.
Today, many continue to be spread across museums in Europe and North America -- including the London museum, German museum and the New York institution.
Restitution Efforts
Their repatriation has become one of the most debated discussions in the worldwide cultural sector. Approximately 150 have presently been returned – and additional are expected to return.
When plans for the facility in Benin City were initially revealed in 2019, the influential figures on the country's cultural sector expected it would become their perfect venue – a state-of-the-art campus to show them off to the world.
But the situation became complicated some time back after the federal government stated that the royal leader would be the rightful owner of repatriated artifacts – and the monarch's court advocated for a museum under the monarch's supervision, opposing the preferences of Obaseki.
Diplomatic Challenges
This left Mowaa in a challenging circumstance: expressing a definite position on return while being careful on ownership – and highlighting its broader vision, which led to|c
