The nation's stunning new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the period it was expected to – but failed – to begin operations to the public for the very first time.
The 15-acre facility sits in the heart of Benin City, capital of the southern region of Edo – and contains an historical dig and structures created by renowned dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington DC in 2016.
It has been five years in the development – and is designed to honor both the past and the modern times of cultural innovation in the region known for the historic artworks, artworks taken from the king's palace by British soldiers in the nineteenth century.
It is impressive – and before the anticipated opening, Mowaa was active with workers determined to show it is a place that can compete with renowned art institutions in the Western world.
Internally preservation experts meticulously unwrapped artworks from safety materials, examining each piece and taking detailed documentation before placing them on walls and stands.
Technicians fine-tuned environmental controls. In the scientific facility, personnel calibrated devices meant to preserve centuries-old objects.
The venture has been the concept of businessman Phillip Ihenacho – now Mowaa's chief executive.
"I want us to have a significant economic benefit on local residents around here," he stated to journalists, noting that he hoped to make this urban center "a tourism center."
Mowaa, a not-for-profit national foundation, envisions itself creating over 30,000 employment opportunities and contributing over $80m annually to the local cultural industry through collaborations and events.
It has needed $25m to get here – money gathered from multiple contributors, including the European governments, the London institution and the regional authorities.
But at present the local government has withdrawn support from beneath it – revoking the utilization of the land on which the facility was constructed.
An official representative explained this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had later dropped "Edo" from its designation.
This announcement followed protests on the weekend, when activists invaded the campus demanding it be designated the Museum of the Benin Kingdom.
A rowdy group confronted foreign guests at the venue prior to the launch – requiring them to be hurried away under police escort.
Head of state Bola Tinubu has also intervened to attempt to settle the dispute, setting up a presidential committee to address the controversy.
But how has this turned into so politicised – and such a PR disaster?
Much of it results from internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose term in office concluded the previous year – who was a primary advocate of the initiative.
And it appears the government of the new governor, a close ally of the regional monarch, known as the royal figure, may want increased control in the initiative. The demonstrators on that day, for case, were demanding that the institution be placed under the control of Oba Ewuare II.
This brings into focus the contentious issue of the cultural artifacts, one of the continent's most celebrated cultural treasures.
Because although the institution does ultimately begin operations, these objects will be clearly not present.
They are metal, elephant tusk and wooden sculptures that once decorated the monarch's home of the historical empire before British soldiers looted them in 1897 during a colonial invasion.
Nowadays, numerous remain scattered across galleries in Europe and North America -- featuring the British Museum, German museum and the New York institution.
Their homecoming has become one of the most debated debates in the international art community. Roughly 150 have presently come back – and more are due to follow.
When ideas for the institution in the city were first announced in the pre-pandemic era, the key players on Nigeria's art scene expected it would become their natural home – a modern campus to exhibit them to the international community.
But the waters were muddied recently after the central administration declared that the royal leader would be the legal custodian of returned objects – and the royal household campaigned for a facility under the king's authority, against the wishes of the former governor.
This left Mowaa in a difficult situation: asserting a definite position on repatriation while being careful on ownership – and highlighting its wider mission, which led to|c
Eva de Vries is a passionate book lover and local writer from Eindhoven.
