Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the middle of area political conflicts during the period it was supposed to – but did not manage – to open its doors to the public for the first time.
The 15-acre campus stands in the core of Benin City, administrative center of the southern region of Edo – and features an historical dig and facilities created by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in Washington in 2016.
It has been 60 months in the making – and is designed to honor both the past and the modern times of creativity in the area known for the historic artworks, cultural objects taken from the king's palace by British troops in the 19th Century.
It is notable – and prior to the planned opening, Mowaa was buzzing with employees committed to demonstrate it is a institution that can rival renowned cultural centers in the Western world.
Internally conservators carefully revealed artworks from protective packaging, inspecting each piece and taking thorough notes before arranging them on exhibition areas and plinths.
Experts adjusted climate control systems. In the research lab, personnel set up equipment designed to maintain historical objects.
The venture has been the brainchild of entrepreneur Phillip Ihenacho – currently Mowaa's managing director.
"I want us to have a significant economic impact on communities in the vicinity," he told media outlets, noting that he wanted to make Benin City "a tourism center."
Mowaa, a charitable national foundation, sees itself generating in excess of 30,000 work positions and contributing over $80m annually to the regional creative economy through partnerships and activities.
It has taken $25m to get here – funds raised from different contributors, such as the international partners, the UK museum and the local administration.
But at present the regional administration has pulled the rug from below it – revoking the occupancy of the property on which the facility was constructed.
An official representative explained this was because in the original paperwork it had called itself Edo Museum of West African Art – and it had later removed "the regional name" from its designation.
This statement came after rallies on the weekend, when protesters entered the facility demanding it be designated the Museum of the Benin Kingdom.
A disruptive crowd confronted foreign guests at the facility ahead of the opening – forcing them to be quickly removed under security protection.
Head of state Bola Tinubu has also stepped in to attempt to settle the dispute, setting up a high-level committee to do some damage control.
But in what way has this turned into so controversial – and such a reputation problem?
The majority of it stems from internecine rivalries at a area administrative level, as it was the former state leader Godwin Obaseki – whose administration finished recently – who was a major backer of the museum.
And it appears the government of the new governor, a close ally of the area king, called the royal figure, may want more of a stake in the project. The activists on that day, for example, were demanding that the facility be positioned under the authority of the royal leader.
This brings into focus the contentious issue of the cultural artifacts, one of Africa's most celebrated artistic heritage.
Because although the facility does ultimately begin operations, these bronzes will be noticeably missing.
They are brass, elephant tusk and timber artworks that once decorated the monarch's home of the ancient kingdom before colonial troops took them in 1897 during a colonial invasion.
Nowadays, thousands continue to be scattered across galleries in the West -- such as the British Museum, European center and the New York institution.
Their return has become one of the most debated conversations in the international art community. Approximately 150 have now made their way home – and additional are due to follow.
When plans for the facility in the city were originally proposed in the pre-pandemic era, the key players on Nigeria's art scene anticipated it would become their perfect venue – a modern campus to display them to the global audience.
But the waters were muddied some time back after the national authorities declared that the royal leader would be the proper guardian of any returned bronzes – and the palace advocated for a facility under the royal family's direct control, against the wishes of the ex-leader.
This left Mowaa in a difficult situation: expressing a specific viewpoint on return while being careful on custodianship – and emphasising its wider mission, which led to|c
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