Benin Bronzes and Museum Politics

Nigeria’s New Museum, a Cultural Beacon, Is Mired in Political Strife

A spectacular new cultural institution in Nigeria, conceived as a hub for West African creativity, has become ensnared in a bitter political feud. The Museum of West African Art, known as Mowaa, abruptly cancelled its public opening after a dramatic weekend of protests and governmental decrees plunged its future into uncertainty. What should have been a moment of national pride unravelled into a public relations disaster, exposing deep-seated local rivalries. The turmoil threatens to overshadow a project that has been in development for half a decade, designed to celebrate the rich history and vibrant contemporary culture of a region historically defined by the fabled Benin Bronzes.

An Ambibious Architectural Vision

The museum’s expansive fifteen-acre campus occupies a central location within Benin City, the capital of southern Edo state. This significant site features an active archaeological excavation alongside stunning buildings conceived by the celebrated British-Ghanaian architect Sir David Adjaye. His portfolio includes the globally acclaimed National Museum of African American History and Culture, which debuted in Washington during 2016. Adjaye’s design for Mowaa draws inspiration from the historic architectural typologies of Benin, creating a modern space that respects its ancient context. The plans feature galleries that appear to float above public gardens, creating a green, welcoming environment intended for community gatherings and events.

A Meticulous Preparation Derailed

In the days leading up to the planned inauguration, the atmosphere inside Mowaa was electric. Staff worked tirelessly to prove the institution could compete with established Western institutions. Conservators were in the process of carefully unpacking priceless artworks from their protective casings, meticulously inspecting and recording each piece before arranging them for display on walls and pedestals. Technicians made final adjustments to sophisticated environmental regulation systems, crucial for the preservation of delicate artefacts. Within the advanced materials science lab, staff adjusted specialised equipment designed to safeguard centuries-old treasures, ensuring their longevity for future generations.

A Visionary Entrepreneur’s Initiative

The entire ambitious project was initiated by Phillip Ihenacho, a Nigerian businessman who now serves as the museum's executive director. His vision extends far beyond simply displaying art; he aims for Mowaa to become a powerful engine for economic and social development. Speaking to the media, Ihenacho articulated his hope for the museum to create a substantial economic benefit for the surrounding communities. His ultimate goal is to elevate Benin City into a premier cultural destination, attracting visitors from across the globe and revitalising the local economy. This vision positions Mowaa not just as a repository of artefacts but as a dynamic cultural hub.

A Catalyst for Regional Economic Growth

Operating as a Nigerian non-profit, Mowaa has projected an impressive economic contribution to the region. The museum anticipates generating employment for over 30,000 people, both directly and indirectly, providing a substantial boost to local employment. Furthermore, it expects to inject more than $80m each year into the area's creative industries. This will be achieved through a wide range of partnerships, programming, and cultural events designed to foster artistic talent and entrepreneurial activity. The financial model for the institution relies on these initiatives to ensure its long-term sustainability and its role as a key player in the economic diversification of Edo state.

Significant International and Local Investment

Bringing this monumental project to its current stage required a substantial investment of $25m. The funds were raised from a diverse group of donors, reflecting the global significance of the undertaking. International support came from governments in France and Germany, both of which have been actively involved in discussions about the restitution of African artefacts. The British Museum also contributed, alongside backing from the Edo state’s local government, which was an early and enthusiastic supporter of the project under its previous leadership. This coalition of funders underscored the widespread belief in Mowaa's potential to redefine the cultural landscape of West Africa.

The Sudden Withdrawal of Support

The project’s momentum came to a crashing halt when the new local government administration abruptly pulled its support. In a stunning move, it revoked the museum’s certificate of occupancy for the grounds where the entire campus was constructed. A representative for the Edo state government explained that the decision was based on a discrepancy in the initial documentation. The documents had referred to the institution as the "Edo Museum of West African Art". The museum later shortened its name to the "Museum of West African Art," a change the government cited as the reason for its drastic action, throwing the entire project into jeopardy.

Protests Erupt on the Campus

The government's announcement followed a weekend of turmoil. On the Sunday before the scheduled opening, demonstrators entered the museum grounds, insisting its name be changed to the Benin Royal Museum. This group created a hostile environment, insulting international guests who had gathered for a preview event. The situation became so tense that the visitors, including diplomats and donors, had to be escorted to safety by police to ensure their safety. The disruption marked a violent escalation in the dispute, moving it from bureaucratic wrangling to a direct and public confrontation that garnered national attention.

Presidential Intervention and Damage Control

The escalating tensions and the international embarrassment they caused prompted the involvement of Nigeria’s highest office. President Bola Tinubu took action, seeking to settle the increasingly bitter dispute. He quickly established a senior-level panel tasked with undertaking urgent damage control and finding a path to de-escalate the conflict. The president's intervention signals the national importance of the museum project and the serious threat the local political infighting poses to Nigeria's cultural reputation on the global stage. The committee is now charged with mediating between the warring factions.

Deep-Rooted Political Rivalries

The entanglement of the museum in politics is largely a result of fierce internal conflicts within the state-level government. The project was a signature initiative of Godwin Obaseki, the previous governor of Edo state, who completed his tenure the previous year. Obaseki was a major proponent of Mowaa, providing it with crucial early support. However, the current governor, who has a strong relationship with the traditional ruler of the Benin Kingdom, the monarch referred to as the Oba, appears to want a greater say in the prestigious project. This shift in political power has left the museum caught in the crossfire of a local power struggle.

The Influence of the Traditional Ruler

The protesters who disrupted the preview event insisted the museum should be put directly under the authority of Oba Ewuare II of Benin. This demand reflects a belief that the institution, situated in the historic heart of the Benin Kingdom, should be controlled by its traditional custodian. The new state administration’s alignment with the Oba suggests a desire to reshape the museum's governance structure to give the palace a more central role. This underlying tension between modern institutional frameworks and traditional authority is at the very core of the ongoing conflict.

The Shadow of the Benin Bronzes

This local power struggle brings the controversial topic of the Benin Bronzes into sharp focus. These artworks are considered one of Africa’s most significant cultural treasures. Even if Mowaa ever manages to launch, these iconic pieces will be noticeably missing from its galleries. The bronzes, a collection of intricate sculptures made of wood, ivory, and brass that formerly decorated the Benin Kingdom's royal residence, are a powerful symbol of the kingdom's artistic and historical legacy. Their ownership and display remain a matter of immense cultural and political importance.

A Legacy of Colonial Plunder

The absence of the bronzes is a direct result of a violent historical event. In 1897, British soldiers launched a retaliatory mission targeting the Benin Kingdom, looting thousands of priceless artefacts from the royal palace. This act of plunder scattered one of Africa's most important cultural collections around the world. Today, these thousands of pieces remain dispersed in museums and private collections throughout Europe and North America. Holdings are located at institutions including the Metropolitan Museum of Art, the Humboldt Forum in Berlin, and the British Museum.

Image  Credit - by ArnoldReinhold, CC BY 4.0, via Wikimedia Commons

The Global Debate on Restitution

The repatriation of the Benin Bronzes is now among the most heated and complex discussions within the international art community. For decades, Nigeria has campaigned for the return of its stolen heritage. In recent years, these efforts have gained significant momentum, with a growing number of Western institutions acknowledging the unjust circumstances under which the artefacts were acquired. Approximately 150 of the pieces have now been returned to Nigeria, and commitments have been made for more to follow, though the process remains slow and fraught with complexities.

A Fractured Vision for Their Return

Following the initial 2019 announcement of the Benin City museum plans, it was seen by many in the Nigerian arts community as the natural future home for the repatriated bronzes. The vision was for a modern, cutting-edge facility that could house these treasures and display them for a global audience in their place of origin. However, this vision was complicated two years prior when Nigeria's federal government made a crucial decision. It officially declared that legal ownership and guardianship of all repatriated bronzes would belong to the Oba of Benin, a move that shifted the balance of power.

Competing Plans for a Royal Museum

Following the federal government’s decree, the Oba’s palace began to push for its own museum, one that would be under the direct control of the royal family. This plan clashed with the vision of former governor Obaseki, who had championed Mowaa as an independent institution. The competing museum projects created a rift, leaving Mowaa in a precarious position. The institution had to navigate the sensitive politics of custodianship while trying to maintain its broader, more inclusive vision, a strategy that ultimately resulted in the removal of "Edo" from its title.

A Focus Beyond the Bronzes

Phillip Ihenacho has expressed frustration with the singular preoccupation with the Benin Bronzes, which has overshadowed the museum's wider mission. He has consistently stated that Mowaa’s ambition from its inception was to cover contemporary and modern art. The narrative, largely driven by Western media, kept framing Mowaa as the destination for the returned bronzes. Ihenacho has clarified that Mowaa has no ownership or legal rights to the historical artefacts. Its objective is to cultivate a much broader creative ecosystem.

Cultivating a Contemporary Creative Hub

Ihenacho’s primary objective is creating a sanctuary for modern African creativity. This vision encompasses dance, music, fashion, film, and photography, in addition to visual art. He emphasises that while the museum wants to honour the historical legacy of the region, its central aim is to provide stimulus for contemporary artists and creators. Mowaa is designed to be an institution that supports the entire creative landscape of West Africa, providing resources, training, and a platform for a new generation of talent to emerge and flourish on the global stage.

A Hub of Regional Collaboration

Even before its troubled opening, Mowaa had already begun to function as a centre for regional collaboration and skill development. It has attracted a diverse group of professionals and students who are passionate about African art and heritage. Among them is a youthful Nigerian artist who came back from the US to take a position as a conservator, a new graduate fulfilling his required national service, and a PhD candidate from Ghana conducting important research. These individuals represent the human potential that the institution hopes to cultivate.

Local Perspectives on the Museum

The value of Mowaa as a resource is not lost on local artists. After visiting the site, a University of Benin sculpture graduate welcomed the opportunities it presents. While noting that numerous inhabitants of Benin City are unconcerned with the high-level restitution debate, he recognised that the institution presented something incredibly valuable. He explained that many local artists have never seen the original Benin Bronzes, and Mowaa provides a space where they can examine the history, methods, and construction up close, which is an invaluable educational experience.

An Elitist Conversation

The discussion surrounding the Benin Bronzes, according to cultural expert Oluwatoyin Sogbesan, has become increasingly elitist. She observes that the average resident of Benin City is focused on earning an income, working, and providing for their household. For many, the debate over ancient artefacts feels distant from their daily struggles. Sogbesan argues that the restitution movement needs to connect more deeply with the local population and that its focus must broaden beyond the physical return of objects to include the restoration of memory, language, and cultural practices.

Decolonising Cultural Language

Sogbesan advocates for a fundamental shift in how the artefacts are discussed, starting with their name. She urges for the name "Benin Bronzes" itself to be decolonised, a label assigned by Westerners. Instead, she suggests applying their authentic Edo title: "Emwin Arre," which translates to "Cultural Things." This change, she argues, would be a powerful step toward reclaiming the narrative and honouring the original creators. Using the indigenous term re-centres the conversation on the local culture and its own understanding of these sacred and historical objects.

An Inaugural Exhibition in Limbo

This focus on reclaiming narratives resonates deeply with the theme of Mowaa's planned inaugural exhibition, titled Homecoming. If it is ever launched for public viewing, the exhibition is set to display creations by celebrated artists from the Nigerian diaspora, such as Precious Okoyomon, Yinka Shonibare, Tunji Adeniyi-Jones, and Toyin Ojih Odutola. Many of these artists reside internationally and seldom have the chance to exhibit their work in Nigeria, making this planned exhibition a significant cultural event for the country.

A Monument to Absence and Memory

A central piece in the Homecoming exhibition is a powerful work by Yinka Shonibare, titled Monument to the Restitution of the Mind and Soul. This is a large installation in the shape of a pyramid that includes over 150 clay models of the Benin Bronzes. Shonibare has stated that creating such a piece is an act of recognizing the deep trauma that resulted from the pillaging of those sacred items. It represents an intense emotional connection with the violence of the 1897 invasion and the enduring legacy of that loss.

The Symbolism of Clay and Land

Shonibare’s selection of clay as the medium for his replicas is deliberate and deeply symbolic. He uses it to symbolize a link to the very earth of Benin. He observes that contemporary society seems detached from the natural world, in contrast to ancestors who maintained a profound and reverent bond with their environment. The installation's pyramid shape recalls Africa's ancient marvels. The delicate clay models, in turn, address loss, recollection, and the spiritual emptiness created when the original bronzes were stolen.

A Cathartic Act of Mourning

Shonibare clarifies his piece is conceptual, investigating what absence means and the spiritual weight of the bronzes for the Edo people. The installation is not intended as a substitute for the originals but to contemplate the void they left behind. In many ways, he sees the artwork as a cathartic process, an act of mourning for a deep cultural wound. It invites viewers to reflect on what it means for a people to be severed from their most sacred cultural symbols and the long journey toward healing and restitution.

Reflections on Power and Governance

Another prominent piece in the exhibition plans is a 2016 mixed-media installation from artist Ndidi Dike, titled National Grid. This installation reflects on the dual meanings of power in its political and electrical forms. Citizens in Nigeria deal with regular electrical failures, an occurrence that has become a normalized, though annoying, aspect of everyday existence. Dike uses this shared experience as a powerful metaphor to challenge the country's wider shortcomings in infrastructure and governance. The work critiques the systemic issues that prevent the nation from reaching its full potential, a theme with sharp relevance.

Resonating with the Current Crisis

The themes of power failure and political dysfunction in Dike's work will probably strike a particular chord with Mowaa's staff and advocates right now. The museum, a symbol of progress and potential, has been short-circuited by a political power struggle that threatens to leave it in the dark. The irony of featuring an artwork about national grid failures at a time when the institution itself has been stalled by failures of governance is not lost on those involved. The piece serves as a poignant commentary on the very challenges the museum now faces.

Hopes for a Collaborative Resolution

Despite the current impasse, there may be some reason for optimism. The Nigerian culture minister, Hannatu Musawa, who is leading the presidential panel tasked with settling the disagreement, has issued a statement of reassurance. She affirmed that cultural bodies are fundamental to national identity and require protection. Musawa advocated for cooperative strategies that honour traditional guardianship while also recognizing the need for contemporary institutional frameworks. Her words suggest a path forward that seeks to find common ground between the competing interests of the palace and the museum.

Broader Implications for African Art

The ongoing row has raised fears that it could damage the wider, continent-spanning initiatives to recover art stolen from Africa. Western museums, some of which have been hesitant to return artefacts, may feel that their reservations regarding the preservation and safety of repatriated items are justified by this public dispute. A failure to resolve this conflict peacefully could set a negative precedent, potentially slowing the momentum of the global restitution movement. The outcome of the Mowaa dispute is being watched closely by cultural leaders around the world.

A Future Forged by Creativity

Despite the political storm raging outside their walls, many of the people working within Mowaa remain steadfast and determined. Their ambition is to show the world that their creative spirit can forge a new identity for the modern African museum. They believe in a future for the institution that is defined not by the ownership of historical artefacts but by its role as a dynamic centre for contemporary culture. The ultimate vision for Mowaa is one of resilience—a place that can thrive and inspire, whether or not it ever houses the historical bronzes.