The nation's impressive new Art Museum of West Africa (Mowaa) has ended up in the center of regional political struggles during the time it was scheduled to – but did not manage – to welcome visitors to the general public for the first time.
The Ambitious Project
The 15-acre complex is located in the center of Benin's urban center, capital of the southern state of Edo – and features an excavation site 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 opened in the US capital in 2016.
It has been five years in the making – and is designed to honor both the heritage and the current era of creativity in the area famous for the historic artworks, cultural objects looted from the royal palace by British soldiers in the nineteenth century.
Setup and Prospects
It is remarkable – and ahead of the scheduled opening, Mowaa was buzzing with staff committed to show it is a venue that can rival well-known museums and galleries in the Western world.
Within conservators carefully opened artworks from secure wrapping, examining each piece and taking detailed documentation before placing them on exhibition areas and bases.
Specialists adjusted climate control systems. In the materials science laboratory, officers set up devices designed to maintain historical artefacts.
Funding and Economic Goals
The venture has been the brainchild of investor Phillip Ihenacho – presently Mowaa's chief executive.
"I want us to have a significant economic impact on communities in the vicinity," he explained to media outlets, noting that he wanted to make this urban center "a tourism center."
Mowaa, a charitable local organization, sees itself establishing more than 30,000 employment opportunities and contributing above $80m annually to the local cultural industry through partnerships and programming.
Financial Support and Government Issues
It has required $25m to achieve this stage – money gathered from different supporters, including the French and German governments, the British Museum and the local administration.
But currently the state authorities has revoked permission from beneath it – canceling the utilization of the property on which the facility was constructed.
An Edo state spokesperson stated this was because in the original paperwork it had called itself EMOWAA – and it had since dropped "Edo" from its title.
Demonstrations and Government Action
This announcement was preceded by protests on recently, when activists entered the campus insisting it be designated the Benin Royal Museum.
A disruptive group confronted international visitors at the facility before the launch – compelling them to be quickly removed under police escort.
National leader Bola Tinubu has additionally stepped in to try and resolve the conflict, establishing a special task force to do some damage control.
Administrative Challenges
But in what way has this turned into so controversial – and such a reputation problem?
Much of it results from local power struggles at a regional government level, as it was the ex-administrator Godwin Obaseki – whose term in office finished recently – who was a major backer of the museum.
And it appears the leadership of the recently elected official, a strong supporter of the local traditional ruler, known as the royal figure, may seek more of a stake in the venture. The activists on the weekend, for instance, were insisting that the facility be placed under the control of Oba Ewuare II.
The Benin Bronzes Controversy
This brings into focus the disputed topic of the cultural artifacts, one of the region's most famous cultural treasures.
Because though the facility does eventually welcome visitors, these objects will be noticeably missing.
They are brass, elephant tusk and wooden artworks that once adorned the monarch's home of the ancient kingdom before colonial troops looted them in the late nineteenth century during a punitive expedition.
Currently, many continue to be scattered across museums in Europe and North America -- such as the British Museum, Berlin's Humboldt Forum and the American museum.
Restitution Efforts
Their homecoming has become one of the most contested debates in the worldwide cultural sector. Approximately 150 have presently made their way home – and additional are due to follow.
When ideas for the museum in Benin City were originally proposed in recent years, the movers and shakers on the national arts community anticipated it would become their ideal location – a advanced campus to exhibit them to the world.
But the situation became complicated two years ago after the central administration declared that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court advocated for a institution under the king's authority, contrary to the preferences of Obaseki.
Strategic Positioning
This placed Mowaa in a difficult situation: expressing a definite position on repatriation while remaining diplomatic on guardianship – and emphasising its larger purpose, which led to|c
