🔗 Share this article

The nation's remarkable new Museum of West African Art (Mowaa) has found itself in the crosshairs of area political conflicts during the time it was scheduled to – but failed – to open its doors to the public for the very first time.

The Ambitious Project

The 15-acre complex sits in the center of the Edo state capital, administrative center of the southern area of Edo – and features an historical dig and structures created by renowned British-Ghanaian architect Sir David Adjaye, best known for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been 60 months in the creation – and is envisioned to honor both the heritage and the current era of artistic expression in the area known for the Benin Bronzes, cultural objects looted from the king's palace by British troops in the 1800s.

Readiness and Potential

It is impressive – and prior to the planned opening, Mowaa was buzzing with workers committed to prove it is a place that can compete with renowned cultural centers in the Europe and America.

Internally preservation experts precisely opened art pieces from safety materials, examining each artifact and taking thorough records before arranging them on exhibition areas and plinths.

Technicians fine-tuned temperature regulation systems. In the scientific facility, staff members adjusted devices intended to preserve ancient items.

Investment and Economic Plans

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

"I hope us to have a major economic impact on local residents in the vicinity," he stated to the press, mentioning that he hoped to make this urban center "a cultural destination."

Mowaa, a not-for-profit local organization, sees itself generating over 30,000 employment opportunities and providing over $80m per year to the regional creative economy through collaborations and activities.

Investment and Administrative Problems

It has taken $25m to achieve this stage – money raised from multiple donors, featuring the international partners, the British Museum and the Edo state government.

But now the local government has withdrawn support from below it – revoking the use of the property on which the facility was constructed.

An government communicator explained this was because in the initial documents it had identified as EMOWAA – and it had subsequently removed "Edo" from its designation.

Unrest and Official Response

This announcement was preceded by demonstrations on recently, when people entered the campus insisting it be named the Royal Benin Museum.

A disruptive group insulted international visitors at the facility ahead of the inauguration – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has even stepped in to try and resolve the dispute, setting up a presidential committee to manage the situation.

Administrative Challenges

But how has this become so controversial – and such a public relations crisis?

The majority of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration finished last year – who was a primary advocate of the museum.

And it appears the administration of the current leader, a close ally of the local traditional ruler, known as the royal figure, may want more of a stake in the venture. The demonstrators on Sunday, for instance, were insisting that the museum be put under the supervision of the royal leader.

The Cultural Artifacts Debate

This brings into focus the controversial matter of the historical artworks, one of the continent's most celebrated artistic heritage.

Because though the institution does ultimately open, these artifacts will be conspicuously absent.

They are metal, ivory and timber artworks that once adorned the king's residence of the historical empire before colonial troops took them in 1897 during a colonial invasion.

Currently, many continue to be spread across museums in Western nations -- featuring the British Museum, German museum and the New York institution.

Repatriation Campaigns

Their repatriation has become one of the most debated conversations in the worldwide cultural sector. About 150 have presently come back – and additional are scheduled to be repatriated.

When ideas for the institution in the city were originally proposed in 2019, the influential figures on the national arts community anticipated it would become their perfect venue – a state-of-the-art facility to show them off to the world.

But the situation became complicated some time back after the central administration announced that the Oba would be the rightful owner of any returned bronzes – and the monarch's court pushed for a museum under the royal family's direct control, contrary to the wishes of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: asserting a clear stance on restitution while staying tactful on guardianship – and highlighting its larger purpose, which led to|c