Nigeria's stunning new Art Museum of West Africa (Mowaa) has found itself in the middle of local power politics during the week it was supposed to – but was unable – to welcome visitors to the public for the initial occasion.
The Ambitious Project
The six-hectare facility sits in the heart of the Edo state capital, administrative center of the southern state of Edo – and includes an archaeological dig and facilities created by high-profile Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington DC in 2016.
It has been five years in the development – and is designed to celebrate both the history and the current era of creativity in the region known for the cultural artifacts, cultural objects taken from the city's royal palace by British troops in the nineteenth century.
Preparation and Promise
It is impressive – and prior to the scheduled opening, Mowaa was energetic with employees committed to demonstrate it is a place that can match established art institutions in the Western world.
Internally art restorers meticulously opened art pieces from protective packaging, checking each artifact and taking detailed notes before placing them on exhibition areas and stands.
Technicians fine-tuned climate control systems. In the research lab, personnel calibrated instruments designed to conserve historical items.
Funding and Economic Goals
The project has been the brainchild of businessman Phillip Ihenacho – currently Mowaa's executive director.
"I want us to have a significant economic benefit on communities in this region," he explained to journalists, noting that he wanted to make this urban center "an arts hub."
Mowaa, a non-profit local organization, aims at establishing in excess of 30,000 direct and indirect jobs and providing over $80m per year to the regional creative economy through alliances and activities.
Financial Support and Government Issues
It has needed $25m to achieve this stage – funds gathered from various contributors, including the European governments, the UK museum and the regional authorities.
But at present the state authorities has withdrawn support from below it – terminating the occupancy of the property on which the building was erected.
An Edo state spokesperson explained this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had subsequently eliminated "the state identifier" from its title.
Demonstrations and Government Action
This statement was preceded by demonstrations on the weekend, when protesters stormed the complex calling for it be designated the Museum of the Benin Kingdom.
A rowdy assembly confronted foreign guests at the venue prior to the launch – forcing them to be quickly removed under police escort.
National leader Bola Tinubu has even stepped in to work to address the conflict, establishing a presidential committee to manage the situation.
Governance Issues
But in what way has this evolved into so politicised – and such a public relations crisis?
The majority of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the project.
And it looks like the leadership of the new governor, a strong supporter of the regional monarch, called the traditional leader, may desire more of a stake in the project. The demonstrators on that day, for instance, were demanding that the museum be positioned under the control of the current Oba.
The Cultural Artifacts Debate
This emphasizes the disputed topic of the historical artworks, one of Africa's most celebrated artistic heritage.
Because even if the facility does finally open, these objects will be noticeably missing.
They are brass, elephant tusk and timber sculptures that once decorated the king's residence of the Benin Kingdom before colonial troops took them in the late nineteenth century during a military operation.
Today, thousands stay spread across galleries in the West -- featuring the British Museum, European center and the Metropolitan Museum of Art.
Repatriation Campaigns
Their homecoming has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have currently been returned – and additional are due to follow.
When proposals for the museum in Benin City were initially revealed in recent years, the key players on the country's cultural sector anticipated it would become their ideal location – a modern campus to display them to the world.
But the issues became confused two years ago after the national authorities declared that the traditional ruler would be the legal custodian of any returned bronzes – and the palace pushed for a institution under the royal family's direct control, contrary to the desires of the ex-leader.
Diplomatic Challenges
This placed Mowaa in a challenging circumstance: expressing a clear stance on return while being careful on custodianship – and stressing its wider mission, which led to|c
