🔗 Share this article

The nation's impressive new Museum of West African Art (Mowaa) has found itself in the middle of regional political struggles during the period it was scheduled to – but was unable – to open its doors to the public for the very first time.

The Ambitious Project

The 15-acre complex sits in the heart of the Edo state capital, capital of the southern region of Edo – and includes an historical dig and facilities created by high-profile dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that began operations in the US capital in 2016.

It has been five years in the making – and is envisioned to celebrate both the history and the modern times of cultural innovation in the locale famous for the historic artworks, cultural objects looted from the royal palace by British troops in the nineteenth century.

Setup and Prospects

It is remarkable – and before the anticipated opening, Mowaa was buzzing with workers committed to show it is a venue that can rival well-known museums and galleries in the Western world.

Internally art restorers carefully revealed art pieces from safety materials, examining each artifact and taking meticulous records before arranging them on walls and bases.

Experts adjusted environmental controls. In the research lab, personnel adjusted devices intended to preserve centuries-old artefacts.

Financial Backing and Economic Vision

The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a significant economic impact on local residents around here," he explained to media outlets, adding that he hoped to make this urban center "a cultural destination."

Mowaa, a charitable national foundation, sees itself generating over 30,000 work positions and contributing above $80m each year to the local cultural industry through partnerships and programming.

Financial Support and Government Issues

It has taken $25m to achieve this stage – money gathered from multiple donors, including the international partners, the London institution and the regional authorities.

But now the state authorities has revoked permission from beneath it – canceling the use of the property on which the museum was built.

An government communicator clarified this was because in the original paperwork it had identified as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its name.

Unrest and Official Response

This declaration followed demonstrations on Sunday, when activists entered the facility demanding it be called the Museum of the Benin Kingdom.

A rowdy assembly harassed foreign guests at the facility ahead of the inauguration – compelling them to be escorted out under police escort.

National leader Bola Tinubu has also stepped in to try and resolve the dispute, setting up a special task force to manage the situation.

Administrative Challenges

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

The majority of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended last year – who was a primary advocate of the museum.

And it appears the administration of the new governor, a strong supporter of the area king, known as the Oba, may seek greater involvement in the initiative. The demonstrators on Sunday, for example, were demanding that the institution be put under the supervision of Oba Ewuare II.

The Historical Objects Discussion

This highlights the contentious issue of the Benin Bronzes, one of the region's most renowned historical legacy.

Because although the institution does finally open, these artifacts will be conspicuously absent.

They are metal, elephant tusk and wooden carvings that once decorated the monarch's home of the Benin Kingdom before UK forces stole them in the late nineteenth century during a punitive expedition.

Nowadays, numerous stay spread across museums in Europe and North America -- featuring the UK institution, German museum and the American museum.

Restitution Efforts

Their repatriation has become one of the most disputed discussions in the worldwide cultural sector. About 150 have presently made their way home – and more are due to follow.

When ideas for the museum in the city were first announced in the pre-pandemic era, the influential figures on the national arts community expected it would become their perfect venue – a advanced facility to display them to the international community.

But the waters were muddied recently after the central administration announced that the royal leader would be the rightful owner of returned objects – and the royal household advocated for a facility under the monarch's supervision, opposing the desires of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: expressing a definite position on repatriation while being careful on ownership – and emphasising its larger purpose, which led to|c