Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of area political conflicts during the time it was supposed to – but was unable – to open its doors to the visitors for the first time.
The Ambitious Project
The 15-acre campus sits in the heart of Benin's urban center, capital of the southern area of Edo – and features an historical dig and structures designed by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that was inaugurated in Washington DC in 2016.
It has been five years in the creation – and is planned to celebrate both the past and the modern times of cultural innovation in the locale famous for the cultural artifacts, artworks stolen from the city's royal palace by UK forces in the nineteenth century.
Preparation and Promise
It is impressive – and ahead of the scheduled opening, Mowaa was buzzing with workers determined to demonstrate it is a place that can match established museums and galleries in the Western world.
Inside art restorers carefully unwrapped cultural items from secure wrapping, examining each piece and taking detailed notes before placing them on display surfaces and stands.
Technicians fine-tuned climate control systems. In the scientific facility, personnel set up instruments designed to preserve ancient artefacts.
Funding and Economic Goals
The initiative has been the idea of investor Phillip Ihenacho – presently Mowaa's managing director.
"I aim us to have a significant economic benefit on area populations in the vicinity," he stated to media outlets, adding that he hoped to make Benin City "a tourism center."
Mowaa, a not-for-profit national foundation, envisions itself creating in excess of 30,000 direct and indirect jobs and contributing over $80m per year to the area arts sector through alliances and events.
Investment and Administrative Problems
It has needed $25m to get here – money raised from different supporters, including the French and German governments, the London institution and the regional authorities.
But now the local government has revoked permission from beneath it – terminating the use of the land on which the museum was built.
An government communicator explained this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had later dropped "the state identifier" from its title.
Unrest and Official Response
This statement was preceded by demonstrations on recently, when activists entered the campus insisting it be designated the Royal Benin Museum.
A rowdy group harassed foreign guests at the museum ahead of the launch – requiring them to be quickly removed under security protection.
President Bola Tinubu has even stepped in to try and resolve the conflict, setting up a high-level committee to do some damage control.
Administrative Challenges
But why has this become so divisive – and such a reputation problem?
A great deal of it results from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office finished last year – who was a major backer of the museum.
And it appears the government of the recently elected official, a key associate of the local traditional ruler, called the royal figure, may want increased control in the initiative. The demonstrators on the weekend, for instance, were demanding that the museum be put under the control of the current Oba.
The Historical Objects Discussion
This brings into focus the contentious issue of the Benin Bronzes, one of Africa's most famous historical legacy.
Because although the institution does ultimately open, these objects will be noticeably missing.
They are metal, elephant tusk and wooden artworks that once adorned the king's residence of the ancient kingdom before colonial troops looted them in 1897 during a military operation.
Nowadays, thousands remain scattered across institutions in the West -- featuring the UK institution, Berlin's Humboldt Forum and the American museum.
Restitution Efforts
Their return has become one of the most debated discussions in the global art world. About 150 have currently come back – and more are due to follow.
When ideas for the institution in Benin City were first announced in recent years, the key players on the country's cultural sector expected it would become their perfect venue – a state-of-the-art campus to display them to the international community.
But the waters were muddied recently after the federal government declared that the traditional ruler would be the proper guardian of any returned bronzes – and the palace campaigned for a museum under the royal family's direct control, against the desires of the former governor.
Diplomatic Challenges
This placed Mowaa in a delicate position: expressing a clear stance on restitution while being careful on guardianship – and stressing its larger purpose, which led to|c
