Nigeria’s $25M MOWAA Museum Controversy: Benin Bronzes Repatriation, Protests, and Edo Politics

Introduction

The grand opening of Nigeria’s Museum of West African Art (MOWAA) in Benin City was meant to mark a cultural milestone. This $25 million project, designed by renowned architect Sir David Adjaye, promised to transform the city into a global hub for West African art and creativity. However, protests, land revocation by the Edo state government, and deep-rooted rivalries over the Benin Bronzes repatriation have plunged the initiative into controversy.

Located on a six-hectare site in Edo state’s capital, MOWAA aims to celebrate both historical artifacts and contemporary African art. Yet, the absence of the iconic Benin Bronzes—looted in 1897 by British forces—and disputes over custodianship have fueled tensions. This article breaks down the MOWAA museum controversy, its political underpinnings, and implications for Benin Bronzes return efforts worldwide.

Analysis

The Nigeria MOWAA museum fallout stems from a mix of local politics, cultural custodianship debates, and name changes that escalated into a public crisis. Protesters stormed the site demanding it be renamed the Benin Royal Museum and placed under the Oba of Benin’s control, highlighting internecine rivalries in Edo state.

Political Rivalries and Land Revocation

Former Governor Godwin Obaseki championed MOWAA during his tenure, which ended in 2023. The current administration, aligned with Oba Ewuare II, revoked the land lease citing the museum’s rebranding from “Edo Museum of West African Art” to simply “Museum of West African Art.” This move followed Sunday protests where demonstrators insulted international guests, requiring police escorts.

Benin Bronzes Custodianship Dispute

The Benin Bronzes, brass, ivory, and wood sculptures from the Benin Kingdom’s royal palace, were looted during the 1897 British Punitive Expedition. Scattered across Western museums like the British Museum and Metropolitan Museum of Art, about 150 have been repatriated. Nigeria’s government declared the Oba as rightful custodian in 2022, conflicting with MOWAA’s non-profit vision led by Executive Director Phillip Ihenacho.

MOWAA’s Broader Vision

Ihenacho emphasizes MOWAA’s focus on contemporary arts—film, photography, music, dance, and fashion—beyond historical artifacts. Funded by $25 million from donors including France, Germany, the British Museum, and Edo state, it projects 30,000 jobs and $80 million annual economic impact through partnerships.

Summary

In summary, Nigeria’s $25 million MOWAA in Benin City faced a dramatic setback just before its public debut. Protests driven by demands for royal control, land revocation over a name change, and exclusion from hosting repatriated Benin Bronzes underscore tensions between modern institutions and traditional custodianship. President Bola Tinubu formed a committee to mediate, chaired by Culture Minister Hannatu Musawa, who advocates collaborative solutions respecting both traditions.

Key Points

Practical Advice

For artists, cultural enthusiasts, and investors interested in West African projects like MOWAA, here’s pedagogical guidance grounded in this case.

Supporting Cultural Institutions

Engage local stakeholders early. Partner with traditional leaders like the Oba to align modern museums with custodianship norms. For creators, apply for MOWAA programs once resolved—its labs support conservation and research, attracting talents like Ghanaian PhD candidates.

Visiting or Collaborating

Monitor official updates via MOWAA’s channels. Young artists, like University of Benin graduate Eweka Success, highlight study opportunities even without originals. Use replicas in exhibits to educate on Benin Bronzes history and techniques.

Economic Engagement

Businesses can tap projected $80M impact by sponsoring programming in film or fashion, fostering Benin City as a “cultural destination.”

Points of Caution

Cultural projects in politically charged areas like Edo state carry risks. Avoid name changes without government approval, as seen in the land revocation. Protests can escalate, endangering staff and guests—prioritize security protocols.

• Political Volatility: Shifts in governors can reverse support; Obaseki’s backing didn’t survive transition.
• Custodianship Conflicts: Claiming artifacts without legal title invites backlash, as Ihenacho noted.
• Reputational Harm: Delays may deter donors and question conservation capabilities, impacting global Benin Bronzes repatriation.
• Community Disconnect: Elitist debates overlook locals focused on livelihoods, per cultural expert Oluwatoyin Sogbesan.

Comparison

Comparing MOWAA’s controversy to other African art restitution cases reveals patterns.

Vs. Other Repatriation Projects

Unlike Germany’s direct returns to Nigeria (e.g., 22 bronzes in 2022 to Oba’s palace), MOWAA avoids ownership claims, focusing on ecosystem-building. The Smithsonian’s National Museum of African American History (also Adjaye-designed) succeeded without such local disputes due to unified U.S. backing.

Western Museums’ Role

Institutions like the British Museum funded MOWAA ($25M total donors), mirroring Humboldt Forum loans. However, MOWAA’s issues validate Western hesitations on permanent returns, emphasizing stable custodianship.

Contemporary Focus

Similar to Zeitz MOCAA in South Africa, MOWAA prioritizes living artists (e.g., Shonibare’s trauma monument), differentiating from artifact-centric museums like Egypt’s Grand Egyptian Museum.

Legal Implications

The MOWAA case highlights verifiable legal tensions in Nigeria’s cultural heritage framework. Edo state’s land revocation invokes lease agreements tied to original naming (“Edo Museum”), enforceable under Nigerian land laws (Land Use Act 1978). Custodianship of Benin Bronzes follows 2022 federal declarations affirming Oba Ewuare II’s ownership, per the National Commission for Museums and Monuments Act.

Non-profits like MOWAA must secure titles clearly; disputes could lead to litigation over donor funds. President Tinubu’s committee ensures compliance with collaborative heritage policies, avoiding international treaty breaches on looted art (1970 UNESCO Convention). No criminal implications, but delays risk contract breaches with donors like France and Germany.

Conclusion

The MOWAA museum controversy exemplifies challenges in balancing tradition, politics, and modernity amid Benin Bronzes repatriation. Despite setbacks, its climate-controlled labs, diverse staff, and “Homecoming” exhibit—with Shonibare’s cathartic replicas and Dike’s power metaphors—position it to redefine African museums. Resolution via Tinubu’s committee could unlock Benin City’s potential as a creative hub, proving institutions can thrive without ancient treasures by nurturing the present. Stakeholders remain optimistic, focusing on decolonizing narratives—like renaming “Benin Bronzes” to “Emwin Arre” (Edo for “Cultural Things”)—for holistic restitution.

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