🔗 Share this article

The nation's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of regional political struggles during the week it was supposed to – but was unable – to welcome visitors to the public for the first time.

The Grand Vision

The six-hectare complex is located in the core of Benin's urban center, administrative center of the southern region of Edo – and features an archaeological dig and facilities designed by high-profile British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that began operations in the US capital in 2016.

It has been five years in the making – and is designed to celebrate both the past and the current era of cultural innovation in the area known for the historic artworks, artworks looted from the royal palace by UK forces in the 19th Century.

Setup and Prospects

It is notable – and prior to the anticipated opening, Mowaa was buzzing with employees committed to demonstrate it is a institution that can match well-known art institutions in the Europe and America.

Internally art restorers meticulously opened art pieces from safety materials, examining each piece and taking detailed records before positioning them on display surfaces and plinths.

Technicians calibrated temperature regulation systems. In the scientific facility, personnel adjusted instruments designed to preserve ancient artefacts.

Funding and Economic Goals

The project has been the brainchild of investor Phillip Ihenacho – currently Mowaa's chief executive.

"I aim us to have a substantial economic impact on area populations in this region," he told the press, noting that he hoped to make the city "a cultural destination."

Mowaa, a not-for-profit national foundation, envisions itself establishing over 30,000 work positions and contributing above $80m annually to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has required $25m to achieve this stage – capital raised from multiple contributors, such as the international partners, the UK museum and the Edo state government.

But at present the local government has revoked permission from under it – terminating the occupancy of the site on which the facility was constructed.

An government communicator stated this was because in the original paperwork it had referred to itself as Edo Museum of West African Art – and it had since dropped "the regional name" from its designation.

Unrest and Official Response

This declaration was preceded by protests on recently, when protesters entered the campus demanding it be called the Benin Royal Museum.

A disruptive assembly confronted overseas dignitaries at the facility before the opening – compelling them to be escorted out under security protection.

National leader Bola Tinubu has also become involved to work to address the tensions, creating a presidential committee to do some damage control.

Administrative Challenges

But in what way has this become so controversial – and such a public relations crisis?

The majority of it stems from internal conflicts at a regional government level, as it was the ex-administrator Godwin Obaseki – whose administration concluded last year – who was a major backer of the initiative.

And it seems the leadership of the new governor, a close ally of the regional monarch, referred to as the royal figure, may desire increased control in the initiative. The protesters on Sunday, for instance, were calling for that the facility be put under the supervision of Oba Ewuare II.

The Cultural Artifacts Debate

This highlights the disputed topic of the historical artworks, one of Africa's most famous historical legacy.

Because although the institution does finally begin operations, these objects will be conspicuously absent.

They are brass, ivory and timber carvings that once decorated the monarch's home of the ancient kingdom before UK forces took them in the colonial era during a military operation.

Currently, many stay scattered across institutions in the West -- such as the UK institution, European center and the New York institution.

Restitution Efforts

Their repatriation has become one of the most debated debates in the worldwide cultural sector. Approximately 150 have presently come back – and further are expected to return.

When plans for the museum in the city were first announced in the pre-pandemic era, the key players on the national arts community expected it would become their ideal location – a modern complex to display them to the international community.

But the waters were muddied some time back after the national authorities declared that the traditional ruler would be the proper guardian of any returned bronzes – and the palace pushed for a facility under the monarch's supervision, contrary to the wishes of the former governor.

Strategic Positioning

This left Mowaa in a difficult situation: asserting a specific viewpoint on return while staying tactful on ownership – and stressing its larger purpose, which led to|c