Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of regional political struggles during the week it was scheduled to – but did not manage – to open its doors to the public for the first time.
The Major Initiative
The 15-acre complex sits in the center of the Edo state capital, administrative center of the southern state of Edo – and features an archaeological dig and structures planned by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that was inaugurated in the US capital in 2016.
It has been five years in the development – and is designed to celebrate both the history and the modern times of creativity in the area known for the Benin Bronzes, historical pieces looted from the king's palace by British troops in the 1800s.
Setup and Prospects
It is impressive – and ahead of the scheduled opening, Mowaa was energetic with staff determined to prove it is a place that can compete with renowned art institutions in the West.
Internally preservation experts meticulously opened art pieces from safety materials, examining each piece and taking detailed documentation before positioning them on exhibition areas and stands.
Specialists fine-tuned environmental controls. In the research lab, staff members set up instruments meant to conserve centuries-old objects.
Investment and Economic Plans
The project has been the concept of investor Phillip Ihenacho – presently Mowaa's executive director.
"I want us to have a substantial economic benefit on communities around here," he stated to journalists, adding that he hoped to make the city "an arts hub."
Mowaa, a non-profit local organization, envisions itself generating over 30,000 direct and indirect jobs and providing above $80m each year to the area arts sector through alliances and activities.
Investment and Administrative Problems
It has required $25m to achieve this stage – money raised from different supporters, featuring the French and German governments, the London institution and the Edo state government.
But currently the local government has withdrawn support from under it – terminating the occupancy of the property on which the building was erected.
An official representative clarified this was because in the early agreements it had called itself Edo Museum of West African Art – and it had subsequently removed "the regional name" from its title.
Unrest and Official Response
This announcement came after rallies on Sunday, when protesters invaded the complex insisting it be designated the Museum of the Benin Kingdom.
A boisterous assembly insulted international visitors at the museum ahead of the inauguration – compelling them to be quickly removed under security protection.
President Bola Tinubu has also stepped in to work to address the conflict, establishing a special task force to manage the situation.
Governance Issues
But in what way has this turned into so divisive – and such a public relations crisis?
Much of it stems from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration ended last year – who was a key supporter of the museum.
And it seems the leadership of the new governor, a strong supporter of the regional monarch, referred to as the traditional leader, may seek greater involvement in the project. The demonstrators on Sunday, for example, were calling for that the facility be positioned under the authority of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the disputed topic of the cultural artifacts, one of the continent's most celebrated cultural treasures.
Because although the institution does finally open, these artifacts will be conspicuously absent.
They are brass, elephant tusk and timber artworks that once adorned the monarch's home of the historical empire before colonial troops looted them in 1897 during a punitive expedition.
Currently, many remain scattered across institutions in Europe and North America -- featuring the British Museum, European center and the American museum.
Return Initiatives
Their repatriation has become one of the most contested debates in the global art world. Approximately 150 have currently made their way home – and additional are due to follow.
When proposals for the institution in the city were first announced in recent years, the movers and shakers on the country's cultural sector anticipated it would become their perfect venue – a state-of-the-art campus to show them off to the world.
But the issues became confused some time back after the central administration declared that the traditional ruler would be the rightful owner of returned objects – and the royal household pushed for a museum under the royal family's direct control, contrary to the desires of the former governor.
Strategic Positioning
This placed Mowaa in a delicate position: asserting a definite position on repatriation while staying tactful on custodianship – and highlighting its broader vision, which led to|c
