The nation's stunning new Museum of West African Art (Mowaa) has landed in the crosshairs of area political conflicts during the period it was scheduled to – but failed – to welcome visitors to the general public for the first time.
The large-scale campus sits in the heart of Benin's urban center, main city of the southern area of Edo – and contains an archaeological dig and buildings designed by celebrated Ghanaian-British architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in the US capital in 2016.
It has been 60 months in the creation – and is designed to celebrate both the past and the modern times of cultural innovation in the locale renowned for the historic artworks, artworks taken from the royal palace by UK forces in the nineteenth century.
It is impressive – and before the planned opening, Mowaa was active with staff determined to prove it is a place that can compete with well-known cultural centers in the Europe and America.
Internally preservation experts carefully unwrapped cultural items from safety materials, examining each piece and taking thorough notes before positioning them on display surfaces and stands.
Technicians calibrated temperature regulation systems. In the scientific facility, personnel set up devices intended to maintain centuries-old artefacts.
The project has been the brainchild of entrepreneur Phillip Ihenacho – now Mowaa's executive director.
"I aim us to have a substantial economic impact on local residents around here," he explained to journalists, adding that he hoped to make the city "a cultural destination."
Mowaa, a non-profit Nigerian institution, aims at generating more than 30,000 employment opportunities and adding more than $80m each year to the regional creative economy through partnerships and activities.
It has taken $25m to get here – money raised from different donors, including the French and German governments, the UK museum and the regional authorities.
But currently the state authorities has withdrawn support from under it – canceling the occupancy of the land on which the facility was constructed.
An government communicator stated this was because in the early agreements it had identified as Edo Museum of West African Art – and it had subsequently dropped "the regional name" from its name.
This announcement followed protests on the weekend, when activists stormed the campus demanding it be designated the Museum of the Benin Kingdom.
A disruptive group insulted international visitors at the facility prior to the launch – forcing them to be quickly removed under police escort.
Head of state Bola Tinubu has additionally intervened to work to address the conflict, setting up a presidential committee to address the controversy.
But why has this become so politicised – and such a public relations crisis?
A great deal of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office finished the previous year – who was a major backer of the museum.
And it looks like the government of the new governor, a strong supporter of the local traditional ruler, called the Oba, may seek more of a stake in the venture. The protesters on the weekend, for case, were demanding that the museum be placed under the authority of Oba Ewuare II.
This brings into focus the disputed topic of the Benin Bronzes, one of the region's most famous artistic heritage.
Because though the institution does eventually welcome visitors, these objects will be noticeably missing.
They are brass, ivory and timber carvings that once embellished the royal palace of the historical empire before colonial troops looted them in 1897 during a punitive expedition.
Today, many continue to be scattered across institutions in Europe and North America -- featuring the British Museum, German museum and the American museum.
Their return has become one of the most contested debates in the global art world. Approximately 150 have presently made their way home – and more are scheduled to be repatriated.
When ideas for the institution in Benin City were originally proposed in 2019, the key players on the country's cultural sector anticipated it would become their perfect venue – a modern facility to display them to the international community.
But the situation became complicated recently after the federal government declared that the Oba would be the proper guardian of returned objects – and the palace campaigned for a institution under the royal family's direct control, against the preferences of the ex-leader.
This left Mowaa in a delicate position: maintaining a clear stance on restitution while staying tactful on ownership – and stressing its broader vision, which led to|c
