Nigeria's impressive new West African Art Museum (Mowaa) has found itself in the crosshairs of area political conflicts during the period it was expected to – but failed – to open its doors to the general public for the very first time.
The Ambitious Project
The six-hectare facility sits in the center of the Edo state capital, administrative center of the southern state of Edo – and contains an archaeological dig and structures designed by renowned Ghanaian-British architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington DC in 2016.
It has been 60 months in the development – and is planned to honor both the heritage and the current era of creativity in the area known for the historic artworks, historical pieces stolen from the city's royal palace by UK forces in the nineteenth century.
Setup and Prospects
It is impressive – and prior to the scheduled opening, Mowaa was active with employees resolved to prove it is a place that can match established museums and galleries in the Europe and America.
Internally conservators carefully opened artworks from safety materials, inspecting each item and taking detailed records before placing them on exhibition areas and stands.
Experts fine-tuned environmental controls. In the research lab, officers calibrated instruments intended to preserve historical items.
Funding and Economic Goals
The initiative has been the brainchild of investor Phillip Ihenacho – currently Mowaa's chief executive.
"I hope us to have a substantial financial effect on communities in the vicinity," he explained to media outlets, mentioning that he aspired to make this urban center "an arts hub."
Mowaa, a charitable national foundation, sees itself creating in excess of 30,000 employment opportunities and contributing over $80m annually to the local cultural industry through collaborations and programming.
Funding Sources and Political Challenges
It has required $25m to achieve this stage – funds collected from multiple supporters, including the European governments, the British Museum and the local administration.
But at present the local government has withdrawn support from below it – canceling the use of the property on which the building was erected.
An Edo state spokesperson clarified this was because in the initial documents it had identified as the Edo-named institution – and it had subsequently eliminated "the state identifier" from its title.
Unrest and Official Response
This announcement was preceded by protests on the weekend, when activists invaded the complex calling for it be designated the Benin Royal Museum.
A disruptive crowd harassed overseas dignitaries at the venue before the inauguration – requiring them to be hurried away under security protection.
Head of state Bola Tinubu has also intervened to try and resolve the dispute, setting up a presidential committee to address the controversy.
Governance Issues
But how has this become so controversial – and such a public relations crisis?
Much of it comes down to local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance ended last year – who was a key supporter of the project.
And it seems the government of the new governor, a strong supporter of the local traditional ruler, known as the royal figure, may want more of a stake in the project. The protesters on that day, for instance, were demanding that the museum be placed under the supervision of the royal leader.
The Benin Bronzes Controversy
This brings into focus the controversial matter of the historical artworks, one of the region's most celebrated artistic heritage.
Because though the institution does eventually welcome visitors, these objects will be clearly not present.
They are brass, elephant tusk and wooden sculptures that once decorated the royal palace of the Benin Kingdom before UK forces looted them in the colonial era during a military operation.
Nowadays, many continue to be spread across museums in Western nations -- including the British Museum, European center and the New York institution.
Repatriation Campaigns
Their repatriation has become one of the most disputed debates in the global art world. About 150 have now come back – and further are scheduled to be repatriated.
When ideas for the institution in the urban center were initially revealed in recent years, the influential figures on the national arts community hoped it would become their ideal location – a advanced facility to show them off to the global audience.
But the waters were muddied two years ago after the central administration stated that the traditional ruler would be the legal custodian of any returned bronzes – and the royal household campaigned for a museum under the king's authority, opposing the wishes of the former governor.
Diplomatic Challenges
This placed Mowaa in a difficult situation: expressing a specific viewpoint on restitution while remaining diplomatic on guardianship – and stressing its larger purpose, which led to|c
