The Museum of West African Art: A Cultural Epicenter Amidst Controversy

The Museum of West African Art (Mowaa) in Benin City, Nigeria, is not just a museum; it represents a significant cultural and political battleground. Opened amidst intense local and global attention, it finds itself at the heart of an ongoing controversy surrounding the heritage of the Benin Bronzes and the governance of cultural institutions in Nigeria.

A Vision of Modern Elegance

Mowaa stretches across six hectares (approximately 15 acres) in the center of Benin City, Edo State’s capital. Designed by the renowned British-Ghanaian architect, Sir David Adjaye, who also conceptualized the National Museum of African American History and Culture in Washington, D.C., the museum combines modern architectural brilliance with a narrative that honors the region’s artistic legacy. The idea behind the museum is rooted in a desire to celebrate both ancient and contemporary creativity, particularly in relation to the famous Benin Bronzes—artifacts that were appropriated during the British colonial invasions in the late 19th century.

The Build-Up and Opening Day

Five years in the making, Mowaa was prepared for its grand opening with a meticulously curated exhibition and state-of-the-art facilities designed to preserve and showcase art. Inside, dedicated conservators were unwrapping artworks and ensuring that everything was in place for visitors. As climate control systems were fine-tuned, the atmosphere was charged with excitement, underlined by a palpable sense of history.

However, this promising beginning was overshadowed by political tensions and protests, suggesting that the museum’s inception was as complex as the history it aims to represent.

Protests and Political Intrigues

On the eve of its public opening, protests erupted led by groups demanding that the museum’s name include “Edo,” and that it function under the governance of traditional authorities, specifically the Oba of Benin, Ewuare II. These demonstrations not only spotlighted local political dynamics in Edo State but also raised questions about ownership and control over cultural heritage.

Amidst the chaos, powerful political figures, including President Bola Tinubu, sought to stabilize the situation by establishing a high-level committee aimed at addressing these concerns. The controversy ultimately highlights the broader struggle within Nigeria concerning cultural preservation and autonomy versus colonial legacies.

Funding and International Support

The financial backing for Mowaa became a significant concern, with approximately $25 million invested from various international and local donors, including French and German governments and the British Museum. However, the local government’s sudden withdrawal from the land agreement has left stakeholders anxious about the museum’s future. A spokesperson stated that this withdrawal stemmed from discrepancies over the museum’s naming and ownership documentation.

The Bronzes and Their Phantom Presence

The museum was envisioned as a potential home for the Benin Bronzes, yet the artifacts remain a point of contention. Many of these invaluable pieces are scattered across Western museums, and while there have been returns, discussions about their rightful ownership persist. This context raises complicated questions for Mowaa: Will the focus on modern and contemporary creativity overshadow the historical significance of the Benin Bronzes?

New Beginnings and Continued Legacy

Despite clear challenges, the objectives for Mowaa extend beyond mere conservation of artifacts. Phillip Ihenacho, the executive director, aims for the museum to provide socio-economic benefits for local communities, generating over 30,000 jobs and infusing more than $80 million annually into the local economy through various cultural programming.

With a mission to elevate the regional creative landscape, Mowaa is turning into a collaborative hub, drawing artists, researchers, and cultural enthusiasts from various backgrounds. Young Nigerian artists, such as Eweka Success, have expressed hope that the museum will serve as a platform to study the rich history of their cultural heritage, despite the complexities surrounding restitution.

Cultural Dialogue and Reclamation

Beyond the name and ownership debates, scholars and cultural experts emphasize the need to decolonize narratives surrounding African art, particularly the Benin Bronzes. Discussions are evolving towards referring to these artifacts by their original Edo names, highlighting a deeper cultural reclaiming. The upcoming exhibition titled “Homecoming” will encapsulate these themes, featuring significant works from artists like Yinka Shonibare, who uses art to address the trauma caused by colonial looting.

Art as a Reflection of Society

Exhibitions at Mowaa reflect the socio-political landscape of Nigeria. For instance, Ndidi Dike’s mixed-media piece, “National Grid,” critiques the country’s governance through the lens of both electric and political power struggles. This kind of socially engaged art connects deeply with local audiences, reminding them of the broader implications of societal issues in their daily lives.

As stakeholders continue to navigate the tensions surrounding Mowaa, the museum stands as a testament to both the rich cultural history of the Benin Kingdom and the intricate dance of modern politics and identity. Each artwork and exhibition at Mowaa captures the essence of a society that is continuously evolving, seeking to reclaim its narrative while responding to contemporary challenges.