The Museum of West African Art (Mowaa) in Benin City, Nigeria, has experienced a delayed public opening due to local political disputes. The six-hectare campus, located in Edo State, was developed over five years with a $25 million investment.
Project Background
Mowaa's design includes archaeological sites and structures by architect Sir David Adjaye. The institution aims to celebrate the region's historical and contemporary creativity, particularly in relation to the Benin Bronzes—artworks looted from the city's royal palace in the 19th Century.
The project, led by executive director Phillip Ihenacho, envisions creating over 30,000 jobs and contributing more than $80 million annually to the regional creative economy. Funding was secured from various donors, including the French and German governments, the British Museum, and the Edo state government.
Opening Delay and Disputes
The Edo state government revoked Mowaa's land use, citing the institution's decision to remove "Edo" from its original proposed name, "Edo Museum of West African Art." This action followed protests on Sunday, where individuals entered the campus demanding the museum be named the "Benin Royal Museum" and placed under the control of Oba Ewuare II, the local traditional ruler. Foreign guests present for the planned opening were escorted away by police during these protests.
President Bola Tinubu has established a high-level committee to address the situation.
Political Context and Benin Bronzes
The dispute is linked to local political rivalries, specifically between the administration of the new governor and the previous governor, Godwin Obaseki, who was a key supporter of Mowaa. The current administration, allied with Oba Ewuare II, appears to seek greater involvement in the project.
The debate over the Benin Bronzes forms a central component of the tensions. These brass, ivory, and wooden sculptures, looted by British soldiers in 1897, are currently held in museums across Europe and North America. Approximately 150 bronzes have been returned to Nigeria, with more expected.
In 2019, Mowaa was considered a potential home for returned bronzes. However, in 2022, the federal government designated the Oba as the rightful owner and custodian of returned bronzes, leading to the palace advocating for a royal-controlled museum. This development influenced Mowaa's decision to emphasize its broader vision and remove "Edo" from its name to avoid being solely defined by the bronzes, to which it holds no legal title.
Mowaa's Broader Vision
Mowaa's stated objective is to foster contemporary African creativity across various art forms, including film, photography, music, dance, and fashion, alongside historical exhibits. The institution has already become a center for regional collaboration, attracting conservators, graduates, and researchers.
Some local residents express less concern about the restitution of bronzes than about daily living, while cultural specialists advocate for the decolonization of terminology, suggesting "Emwin Arre" (Cultural Things) as an alternative to "Benin Bronzes."
Inaugural Exhibition: Homecoming
Should the museum open, its inaugural exhibition, "Homecoming," will feature works by artists such as Yinka Shonibare, Toyin Ojih Odutola, Precious Okoyomon, and Tunji Adeniyi-Jones. Shonibare's "Monument to the Restitution of the Mind and Soul," a pyramid featuring over 150 clay replicas of the Benin Bronzes, addresses the historical looting and the spiritual absence of the artifacts.
Ndidi Dike's 2016 mixed-media work "National Grid" explores themes of electrical and political power in Nigeria, reflecting on governance and infrastructure issues.
Future Outlook
Nigeria's culture minister, Hannatu Musawa, chairing the presidential committee, stated that cultural institutions require collaborative approaches respecting both traditional custodianship and modern structures. There are concerns that the dispute could affect ongoing efforts to reclaim African art, potentially reinforcing Western museums' apprehensions regarding conservation. Despite this, Mowaa's staff aim to demonstrate that a modern African museum can succeed with or without historical artifacts.