Nigeria's stunning new Art Museum of West Africa (Mowaa) has ended up in the crosshairs of regional political struggles during the week it was expected to – but did not manage – to welcome visitors to the visitors for the very first time.
The 15-acre complex stands in the core of Benin City, capital of the southern area of Edo – and contains an archaeological dig and facilities planned by high-profile Ghanaian-British architect Sir David Adjaye, particularly noted for the National Museum of African American History and Culture that opened in Washington DC in 2016.
It has been five years in the development – and is planned to celebrate both the history and the present of cultural innovation in the area known for the Benin Bronzes, historical pieces stolen from the city's royal palace by UK forces in the 19th Century.
It is remarkable – and before the planned opening, Mowaa was active with staff committed to show it is a venue that can rival well-known museums and galleries in the Europe and America.
Within conservators precisely revealed art pieces from protective packaging, inspecting each piece and taking detailed records before placing them on exhibition areas and plinths.
Specialists adjusted climate control systems. In the research lab, staff members adjusted instruments meant to maintain centuries-old items.
The venture has been the idea of businessman Phillip Ihenacho – presently Mowaa's managing director.
"I hope us to have a substantial economic benefit on local residents in the vicinity," he told the press, noting that he hoped to make this urban center "a tourism center."
Mowaa, a not-for-profit local organization, aims at generating in excess of 30,000 work positions and adding above $80m annually to the area arts sector through alliances and events.
It has taken $25m to get here – capital raised from various supporters, including the European governments, the London institution and the Edo state government.
But currently the regional administration has pulled the rug from under it – terminating the utilization of the site on which the facility was constructed.
An official representative explained this was because in the early agreements it had referred to itself as Edo Museum of West African Art – and it had subsequently dropped "the state identifier" from its designation.
This declaration followed demonstrations on recently, when activists stormed the facility insisting it be called the Benin Royal Museum.
A boisterous group harassed overseas dignitaries at the museum prior to the inauguration – requiring them to be escorted out under police escort.
Head of state Bola Tinubu has also intervened to work to address the conflict, creating a special task force to address the controversy.
But how has this turned into so divisive – and such a PR disaster?
The majority of it stems from local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose term in office concluded the previous year – who was a major backer of the museum.
And it looks like the government of the current leader, a strong supporter of the area king, called the royal figure, may want increased control in the initiative. The protesters on the weekend, for case, were calling for that the museum be placed under the supervision of the royal leader.
This emphasizes the controversial matter of the cultural artifacts, one of Africa's most renowned historical legacy.
Because although the institution does finally open, these objects will be clearly not present.
They are metal, elephant tusk and timber sculptures that once adorned the king's residence of the historical empire before colonial troops stole them in the colonial era during a punitive expedition.
Today, many stay scattered across museums in Europe and North America -- including the London museum, German museum and the American museum.
Their repatriation has become one of the most debated conversations in the global art world. About 150 have now made their way home – and additional are scheduled to be repatriated.
When ideas for the museum in the city were originally proposed in 2019, the key players on the country's cultural sector expected it would become their perfect venue – a advanced facility to exhibit them to the international community.
But the waters were muddied recently after the federal government stated that the traditional ruler would be the rightful owner of repatriated artifacts – and the royal household advocated for a facility under the royal family's direct control, contrary to the desires of the ex-leader.
This placed Mowaa in a delicate position: expressing a clear stance on return while staying tactful on custodianship – and stressing its broader vision, which led to|c
Elena Vance is a digital strategist and creative director with over a decade of experience in transforming brands through innovative design.