Nigeria’s Museum of West African Art (MOWAA), a $25 million project designed to showcase the rich cultural heritage of the region, has found itself at the center of political and public disputes. The museum, intended to celebrate West African creativity and house iconic Benin Bronzes, has faced delays in opening due to disagreements over naming rights, land ownership, and control by local authorities.
A Cultural Landmark in the Making
Located on a six-hectare (15-acre) campus in Benin City, the capital of Edo State, MOWAA combines exhibition spaces, research facilities, and an archaeological dig site. The buildings were designed by renowned British-Ghanaian architect Sir David Adjaye, known for the National Museum of African American History and Culture in Washington, D.C.
The project has been five years in the making, with a total investment of $25 million, funded by international donors including the British Museum, French and German governments, and the Edo State government.
MOWAA’s mission goes beyond displaying art. Executive Director Phillip Ihenacho explained, “What we have become is a museum that is really about creating an ecosystem to support creatives in West Africa.” The museum aims to generate over 30,000 jobs and contribute more than $80 million annually to the regional creative economy through exhibitions, workshops, and partnerships.
Political Disputes Stall the Opening
The museum was scheduled to open its doors to the public last week, but protests and political disputes prevented the inauguration. Demonstrators stormed the museum demanding it be renamed the Benin Royal Museum.
Complicating matters, the Edo state government revoked the museum’s land usage, arguing that the original agreement used the name “Edo Museum of West African Art,” which had since been dropped. President Bola Tinubu intervened, forming a high-level committee to address the tensions and prevent further unrest.
These issues highlight local political rivalries. The former governor, Godwin Obaseki, had been a key supporter of the museum project. The new governor, closely allied with Oba Ewuare II, prefers placing the museum under the royal family’s direct control. Protesters have publicly demanded that the Oba oversee the museum, signaling deep-rooted cultural and political stakes.
The Benin Bronzes: History and Controversy
Central to the debate are the Benin Bronzes, brass, ivory, and wood artworks once housed in the royal palace of the Benin Kingdom. They were looted by British forces in 1897 during a punitive expedition and now reside in museums worldwide, including the British Museum, Berlin’s Humboldt Forum, and New York’s Metropolitan Museum of Art.
The return of the bronzes has been a longstanding demand of Nigeria and a major topic in global cultural discussions. About 150 pieces have been repatriated, with more expected to follow. However, federal regulations designate the Oba as the custodian of any returned bronzes, creating friction between the palace, the new governor, and local stakeholders who previously supported a public museum under state administration.
Economic and Social Impact
Beyond art, MOWAA aims to have a significant economic impact on Benin City. The museum is expected to create direct and indirect employment for thousands of residents, stimulate tourism, and foster creative entrepreneurship. Schools and universities are expected to collaborate with the museum on educational programs, workshops, and internships.
Phillip Ihenacho said, “Our goal is to make Benin City a cultural destination while ensuring that creatives across West Africa have opportunities to thrive.” By integrating training, exhibitions, and preservation programs, MOWAA aspires to set a benchmark for African museums globally.
Challenges Ahead
Despite the vision, the museum faces significant challenges. Local political disputes, protests, and uncertainties over the bronzes’ custodianship have turned the opening into a public relations issue. Security concerns, public skepticism, and potential international scrutiny could further complicate operations.
Experts argue that the museum’s success depends on balancing traditional authority, government support, and international partnerships. Ensuring transparency, inclusivity, and cultural sensitivity will be crucial in positioning MOWAA as a world-class cultural hub.
Conclusion
MOWAA represents a bold effort to celebrate West African heritage and provide economic and social benefits to Benin City. However, navigating local politics, reconciling historical claims, and coordinating with global stakeholders will determine whether it becomes a lasting cultural landmark or a cautionary tale of political interference in cultural projects.