🔗 Share this article

The nation's impressive new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of area political conflicts during the period it was scheduled to – but was unable – to begin operations to the general public for the first time.

The Major Initiative

The 15-acre campus is located in the heart of Benin's urban center, capital of the southern area of Edo – and includes an historical dig and structures created by celebrated dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington DC in 2016.

It has been five years in the development – and is planned to honor both the past and the present of artistic expression in the locale renowned for the cultural artifacts, historical pieces stolen from the king's palace by British troops in the nineteenth century.

Readiness and Potential

It is impressive – and prior to the scheduled opening, Mowaa was energetic with workers committed to demonstrate it is a venue that can match well-known art institutions in the West.

Inside art restorers meticulously revealed art pieces from safety materials, examining each piece and taking thorough records before placing them on walls and bases.

Experts calibrated environmental controls. In the research lab, officers adjusted equipment meant to maintain historical artefacts.

Investment and Economic Plans

The initiative has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's executive director.

"I aim us to have a significant financial effect on area populations around here," he stated to journalists, adding that he wanted to make the city "an arts hub."

Mowaa, a charitable national foundation, aims at establishing in excess of 30,000 direct and indirect jobs and providing more than $80m per year to the area arts sector through partnerships and events.

Funding Sources and Political Challenges

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

But currently the regional administration has revoked permission from below it – terminating the utilization of the land on which the facility was constructed.

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 later removed "the state identifier" from its title.

Protests and Political Intervention

This declaration was preceded by protests on the weekend, when activists invaded the facility demanding it be called the Museum of the Benin Kingdom.

A boisterous assembly insulted international visitors at the facility prior to the inauguration – compelling them to be hurried away under police escort.

National leader Bola Tinubu has even stepped in to work to address the dispute, establishing a presidential committee to address the controversy.

Administrative Challenges

But in what way has this evolved into so divisive – and such a reputation problem?

Much of it stems from internal conflicts at a local state level, as it was Edo's previous governor Godwin Obaseki – whose term in office ended the previous year – who was a primary advocate of the museum.

And it seems the administration of the new governor, a strong supporter of the local traditional ruler, referred to as the traditional leader, may want greater involvement in the venture. The protesters on the weekend, for instance, were demanding that the facility be put under the control of the current Oba.

The Historical Objects Discussion

This highlights the contentious issue of the historical artworks, one of the continent's most famous artistic heritage.

Because even if the facility does finally welcome visitors, these objects will be clearly not present.

They are metal, ivory and timber artworks that once embellished the royal palace of the ancient kingdom before British soldiers looted them in the late nineteenth century during a punitive expedition.

Currently, thousands continue to be scattered across galleries in Western nations -- including the UK institution, European center and the American museum.

Repatriation Campaigns

Their repatriation has become one of the most contested discussions in the worldwide cultural sector. Approximately 150 have currently been returned – and additional are scheduled to be repatriated.

When proposals for the museum in the city were originally proposed in the pre-pandemic era, the key players on the country's cultural sector hoped it would become their natural home – a advanced facility to show them off to the international community.

But the waters were muddied recently after the federal government stated that the royal leader would be the rightful owner of repatriated artifacts – and the royal household advocated for a museum under the monarch's supervision, contrary to the preferences of the ex-leader.

Diplomatic Challenges

This left Mowaa in a difficult situation: expressing a clear stance on return while being careful on custodianship – and stressing its larger purpose, which led to|c