Nigeria's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of area political conflicts during the period it was supposed to – but did not manage – to begin operations to the general public for the very first time.
The Ambitious Project
The six-hectare facility sits in the core of Benin City, capital of the southern area of Edo – and features an historical dig and structures planned by renowned dual heritage architect Sir David Adjaye, best known for the Washington African American Museum that opened in Washington DC in 2016.
It has been 60 months in the development – and is envisioned to honor both the heritage and the present of creativity in the region known for the cultural artifacts, artworks stolen from the city's royal palace by British troops in the 19th Century.
Preparation and Promise
It is notable – and prior to the scheduled opening, Mowaa was active with staff committed to prove it is a place that can rival well-known museums and galleries in the West.
Inside conservators carefully revealed artworks from protective packaging, inspecting each artifact and taking meticulous notes before positioning them on exhibition areas and bases.
Specialists adjusted environmental controls. In the research lab, staff members adjusted equipment meant to maintain historical items.
Financial Backing and Economic Vision
The initiative has been the concept of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.
"I aim us to have a major financial effect on area populations in the vicinity," he told the press, adding that he aspired to make this urban center "an arts hub."
Mowaa, a not-for-profit local organization, aims at establishing over 30,000 work positions and contributing more than $80m per year to the area arts sector through alliances and activities.
Investment and Administrative Problems
It has needed $25m to achieve this stage – funds gathered from various donors, such as the French and German governments, the London institution and the regional authorities.
But at present the regional administration has pulled the rug from below it – revoking the use of the land on which the museum was built.
An government communicator stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had later removed "Edo" from its designation.
Demonstrations and Government Action
This announcement came after demonstrations on the weekend, when protesters stormed the facility demanding it be named the Benin Royal Museum.
A disruptive group confronted foreign guests at the venue ahead of the inauguration – compelling them to be quickly removed under security protection.
President Bola Tinubu has even stepped in to attempt to settle the tensions, establishing a high-level committee to manage the situation.
Governance Issues
But in what way has this become so politicised – and such a PR disaster?
A great deal of it stems from internal conflicts at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office concluded last year – who was a primary advocate of the museum.
And it seems the administration of the recently elected official, a strong supporter of the area king, known as the royal figure, may seek greater involvement in the initiative. The protesters on Sunday, for case, were demanding that the museum be placed under the authority of the current Oba.
The Historical Objects Discussion
This highlights the contentious issue of the historical artworks, one of Africa's most renowned artistic heritage.
Because even if the museum does eventually begin operations, these artifacts will be conspicuously absent.
They are metal, elephant tusk and timber sculptures that once decorated the royal palace of the ancient kingdom before British soldiers took them in 1897 during a colonial invasion.
Currently, thousands continue to be distributed across galleries in Europe and North America -- featuring the London museum, European center and the New York institution.
Return Initiatives
Their repatriation has become one of the most debated discussions in the global art world. Roughly 150 have now made their way home – and more are scheduled to be repatriated.
When ideas for the institution in the city were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene expected it would become their natural home – a state-of-the-art facility to display them to the global audience.
But the situation became complicated two years ago after the national authorities announced that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court campaigned for a museum under the royal family's direct control, contrary to the preferences of Obaseki.
Diplomatic Challenges
This left Mowaa in a difficult situation: asserting a clear stance on repatriation while remaining diplomatic on custodianship – and highlighting its wider mission, which led to|c
