Nigeria’s newly established Museum of West African Art (Mowaa) in Benin City has found itself embroiled in political strife just days before its anticipated public debut. The museum, which spans six hectares in the capital of Edo state, was designed by the renowned British-Ghanaian architect Sir David Adjaye, known for his work on the National Museum of African American History and Culture in Washington, D.C. Mowaa aims to showcase the rich artistic heritage of the region, particularly the renowned Benin Bronzes, which were taken from the royal palace during British colonial incursions in the 19th century.
A vision for cultural renaissance
After five years of development, the museum’s team had been prepared to unveil a facility that promised to rival established Western museums. Staff members were diligently preparing artworks for display, while technicians ensured that advanced climate control systems were operational. The project, spearheaded by businessman Phillip Ihenacho, intends to drive significant economic growth in the area, projecting the creation of over 30,000 jobs and an annual contribution of more than $80 million (£60 million) to the regional creative economy.
Mowaa, a non-profit institution, has successfully garnered $25 million (£19 million) in funding from various donors, including the French and German governments, as well as the British Museum. However, the local government recently withdrew support by revoking the land use permit for the museum, citing a discrepancy regarding its naming. Originally termed the Edo Museum of West African Art, the museum dropped “Edo” from its title, leading to protests from local groups who demand it be officially recognized as the Benin Royal Museum.
Political tensions and cultural implications
The situation intensified when demonstrators confronted foreign dignitaries during a pre-opening event, necessitating police intervention. President Bola Tinubu has intervened, establishing a committee to address the escalating tensions. The conflict appears rooted in local political rivalries, particularly following the exit of former governor Godwin Obaseki, a staunch supporter of the museum. The current administration appears keen to forge closer ties with the local traditional leadership, represented by Oba Ewuare II, which has fueled demands for greater control over the museum.
“One of the frustrations I’ve always had is that from the beginning we have said we will be about the modern and contemporary,” said Ihenacho.
This political turmoil also highlights the broader debate surrounding the Benin Bronzes, a collection of historically significant artifacts that have become symbols of colonial exploitation. Despite Mowaa’s aim to celebrate contemporary African creativity, the absence of the bronzes from its collections casts a shadow over its mission. Many of these artifacts remain in institutions across Europe and North America, with ongoing discussions about their restitution gaining momentum. Although a number have been returned, the issue remains contentious.
Cultural experts like Oluwatoyin Sogbesan emphasize the need for a shift in narrative, suggesting that discussions about the bronzes should extend beyond mere restitution to encompass the restoration of cultural identity and memory. She advocates for the original Edo terminology, ‘Emwin Arre,’ to be employed in reference to the bronzes, which aligns with Mowaa’s inaugural exhibition, titled Homecoming.
The exhibition features works by prominent artists, including Yinka Shonibare, whose installation, Monument to the Restitution of the Mind and Soul, incorporates clay replicas of the Benin Bronzes. Shonibare highlights the emotional resonance of these works, stating, “Creating a monument like this is acknowledging the trauma caused by the looting of those spiritual artefacts.”
As Mowaa navigates this complex landscape, there is hope that resolution can be found, allowing it to fulfill its role as a beacon of contemporary African art and creativity, irrespective of its relationship with historical artifacts. Cultural minister Hannatu Musawa underlined the importance of protecting cultural institutions as pillars of national identity, advocating for collaborative approaches that respect both traditional and modern custodianship.