The Fallout of Nigeria's Impressive $25 Million Museum and the Historic Artworks

The nation's stunning new Art Museum of West Africa (Mowaa) has found itself in the center of regional political struggles during the time it was expected to – but was unable – to welcome visitors to the public for the first time.

The Ambitious Project

The 15-acre campus stands in the core of Benin City, capital of the southern region of Edo – and features an historical dig and facilities designed by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington in 2016.

It has been five years in the creation – and is designed to showcase both the history and the present of artistic expression in the locale renowned for the cultural artifacts, artworks looted from the city's royal palace by British troops in the 1800s.

Preparation and Promise

It is notable – and ahead of the anticipated opening, Mowaa was active with employees committed to prove it is a place that can compete with established art institutions in the West.

Internally art restorers carefully revealed cultural items from secure wrapping, inspecting each piece and taking thorough notes before placing them on exhibition areas and plinths.

Experts calibrated climate control systems. In the scientific facility, staff members set up equipment designed to maintain historical items.

Financial Backing and Economic Vision

The project has been the idea of entrepreneur Phillip Ihenacho – presently Mowaa's executive director.

"I hope us to have a major economic benefit on local residents in the vicinity," he stated to the press, adding that he aspired to make this urban center "a tourism center."

Mowaa, a non-profit national foundation, sees itself creating over 30,000 employment opportunities and contributing over $80m each year to the local cultural industry through collaborations and activities.

Funding Sources and Political Challenges

It has taken $25m to achieve this stage – funds collected from various donors, featuring the European governments, the British Museum and the Edo state government.

But now the state authorities has pulled the rug from beneath it – canceling the utilization of the site on which the museum was built.

An Edo state spokesperson explained this was because in the early agreements it had referred to itself as the Edo-named institution – and it had subsequently dropped "the state identifier" from its title.

Protests and Political Intervention

This statement came after protests on recently, when people stormed the campus calling for it be called the Royal Benin Museum.

A disruptive crowd confronted foreign guests at the museum ahead of the inauguration – compelling them to be hurried away under police escort.

President Bola Tinubu has also stepped in to attempt to settle the conflict, establishing a presidential committee to do some damage control.

Political Complexities

But why has this evolved into so controversial – and such a reputation problem?

A great deal of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose administration concluded the previous year – who was a major backer of the initiative.

And it seems the administration of the current leader, a key associate of the area king, known as the traditional leader, may want greater involvement in the project. The demonstrators on the weekend, for example, were insisting that the institution be placed under the authority of the royal leader.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the cultural artifacts, one of the continent's most celebrated historical legacy.

Because although the facility does eventually begin operations, these bronzes will be clearly not present.

They are metal, ivory and wooden artworks that once adorned the royal palace of the ancient kingdom before colonial troops stole them in 1897 during a colonial invasion.

Currently, thousands continue to be scattered across galleries in Western nations -- including the British Museum, Berlin's Humboldt Forum and the Metropolitan Museum of Art.

Return Initiatives

Their return has become one of the most disputed conversations in the international art community. Roughly 150 have currently been returned – and further are due to follow.

When ideas for the institution in Benin City were originally proposed in recent years, the key players on the national arts community anticipated it would become their natural home – a modern facility to show them off to the global audience.

But the waters were muddied some time back after the central administration declared that the royal leader would be the rightful owner of repatriated artifacts – and the palace pushed for a institution under the royal family's direct control, opposing the preferences of the former governor.

Political Navigation

This placed Mowaa in a difficult situation: expressing a specific viewpoint on repatriation while staying tactful on custodianship – and emphasising its larger purpose, which led to|c