🔗 Share this article

The nation's remarkable new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the time it was scheduled to – but failed – to open its doors to the visitors for the first time.

The Grand Vision

The 15-acre campus stands in the center of Benin's urban center, main city of the southern area of Edo – and features an excavation site and facilities designed by celebrated British-Ghanaian architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington in 2016.

It has been 60 months in the making – and is envisioned to honor both the past and the modern times of cultural innovation in the area famous for the cultural artifacts, artworks looted from the city's royal palace by British soldiers in the nineteenth century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was buzzing with staff resolved to show it is a place that can compete with renowned museums and galleries in the Europe and America.

Internally art restorers precisely unwrapped artworks from protective packaging, examining each item and taking detailed documentation before positioning them on display surfaces and plinths.

Specialists fine-tuned temperature regulation systems. In the scientific facility, officers calibrated equipment meant to preserve ancient artefacts.

Financial Backing and Economic Vision

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

"I hope us to have a substantial financial effect on local residents in the vicinity," he explained to media outlets, noting that he aspired to make the city "a cultural destination."

Mowaa, a charitable national foundation, sees itself creating more than 30,000 direct and indirect jobs and adding over $80m per year to the local cultural industry through collaborations and programming.

Funding Sources and Political Challenges

It has needed $25m to reach this point – capital gathered from various contributors, including the French and German governments, the London institution and the local administration.

But at present the regional administration has revoked permission from below it – revoking the occupancy of the property on which the museum was built.

An government communicator explained this was because in the early agreements it had identified as EMOWAA – and it had later eliminated "Edo" from its designation.

Unrest and Official Response

This statement came after demonstrations on recently, when activists entered the campus calling for it be named the Benin Royal Museum.

A disruptive group insulted foreign guests at the facility prior to the opening – compelling them to be quickly removed under police escort.

Head of state Bola Tinubu has even intervened to work to address the tensions, establishing a special task force to do some damage control.

Political Complexities

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

A great deal of it results from internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office finished last year – who was a key supporter of the project.

And it appears the leadership of the recently elected official, a close ally of the local traditional ruler, called the royal figure, may seek greater involvement in the initiative. The protesters on that day, for example, were demanding that the facility be placed under the control of the royal leader.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of the region's most famous cultural treasures.

Because even if the museum does ultimately welcome visitors, these bronzes will be clearly not present.

They are metal, elephant tusk and wooden artworks that once embellished the royal palace of the historical empire before colonial troops stole them in the colonial era during a colonial invasion.

Today, thousands remain distributed across museums in Western nations -- featuring the British Museum, Berlin's Humboldt Forum and the New York institution.

Return Initiatives

Their repatriation has become one of the most contested debates in the global art world. About 150 have now made their way home – and additional are due to follow.

When proposals for the institution in Benin City were first announced in the pre-pandemic era, the influential figures on the country's cultural sector hoped it would become their ideal location – a advanced campus to display them to the international community.

But the waters were muddied two years ago after the national authorities announced that the royal leader would be the proper guardian of repatriated artifacts – and the palace campaigned for a facility under the royal family's direct control, contrary to the desires of the former governor.

Strategic Positioning

This left Mowaa in a challenging circumstance: expressing a specific viewpoint on repatriation while remaining diplomatic on custodianship – and highlighting its larger purpose, which led to|c