🔗 Share this article

The nation's remarkable new West African Art Museum (Mowaa) has landed in the middle of area political conflicts during the time it was scheduled to – but was unable – to open its doors to the visitors for the first time.

The Ambitious Project

The large-scale facility is located in the core of Benin's urban center, administrative center of the southern area of Edo – and contains an historical dig and structures planned by renowned Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian 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 past and the modern times of cultural innovation in the area renowned for the Benin Bronzes, cultural objects stolen from the king's palace by UK forces in the 19th Century.

Setup and Prospects

It is notable – and before the planned opening, Mowaa was active with workers committed to prove it is a place that can compete with established art institutions in the West.

Internally art restorers precisely opened art pieces from safety materials, checking each artifact and taking detailed notes before positioning them on exhibition areas and bases.

Technicians adjusted temperature regulation systems. In the research lab, personnel adjusted devices designed to conserve ancient items.

Investment and Economic Plans

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

"I aim us to have a significant economic impact on communities in this region," he told media outlets, adding that he wanted to make the city "a tourism center."

Mowaa, a charitable local organization, sees itself creating more than 30,000 work positions and contributing over $80m annually to the local cultural industry through alliances and events.

Investment and Administrative Problems

It has taken $25m to get here – money gathered from various contributors, including the European governments, the British Museum and the regional authorities.

But currently the local government has pulled the rug from below it – terminating the occupancy of the property on which the museum was built.

An Edo state spokesperson clarified this was because in the initial documents it had identified as Edo Museum of West African Art – and it had later removed "Edo" from its title.

Protests and Political Intervention

This announcement followed protests on the weekend, when activists invaded the complex demanding it be called the Royal Benin Museum.

A boisterous crowd confronted foreign guests at the museum ahead of the launch – compelling them to be escorted out under official guard.

Head of state Bola Tinubu has even intervened to attempt to settle the conflict, establishing a high-level committee to do some damage control.

Governance Issues

But why has this turned into so controversial – and such a reputation problem?

The majority of it results from internal conflicts at a area administrative 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 government of the recently elected official, a close ally of the local traditional ruler, known as the Oba, may seek greater involvement in the initiative. The protesters on Sunday, for example, were demanding that the facility be placed under the authority of the current Oba.

The Historical Objects Discussion

This brings into focus the controversial matter of the Benin Bronzes, one of the region's most celebrated cultural treasures.

Because although the institution does ultimately begin operations, these bronzes will be noticeably missing.

They are metal, elephant tusk and timber artworks that once adorned the royal palace of the ancient kingdom before British soldiers looted them in the late nineteenth century during a colonial invasion.

Today, many stay scattered across institutions in Europe and North America -- including the UK institution, German museum and the American museum.

Return Initiatives

Their return has become one of the most contested debates in the international art community. Approximately 150 have currently made their way home – and additional are due to follow.

When plans for the institution in Benin City were first announced in the pre-pandemic era, the key players on the country's cultural sector expected it would become their natural home – a state-of-the-art campus to exhibit them to the international community.

But the situation became complicated recently after the central administration declared that the traditional ruler would be the legal custodian of returned objects – and the royal household advocated for a museum under the monarch's supervision, against the desires of the former governor.

Strategic Positioning

This left Mowaa in a delicate position: maintaining a clear stance on restitution while staying tactful on ownership – and highlighting its broader vision, which led to|c