Benin City Art Museum Opening Halted

Turmoil in Benin City: New Art Museum’s Grand Opening Halted by Protests

An ambitious new cultural institution in Nigeria, the Museum of West African Art (MOWAA), faced a tumultuous beginning. Demonstrators forced their way into the Benin City complex during a preview event, which compelled organizers to call off its much-anticipated official opening. The high-value cultural venture, intended as a beacon for West African heritage, has become a flashpoint in a deeply rooted dispute over cultural ownership, political influence, and the legacy of colonial theft. International guests, including diplomats and donors, were evacuated as the protest unfolded, casting a shadow over a venture designed to celebrate the region's artistic patrimony.

An Inauguration Derailed

The planned inauguration week for the MOWAA institution was suddenly plunged into chaos. A group of protesters breached the museum's grounds during a preview event on Sunday, creating a volatile situation that led to the immediate evacuation of guests. Videos quickly circulated online showing demonstrators chanting slogans in support of the Oba of Benin, the traditional ruler, asserting his authority over the region's cultural heritage. Organisers had no choice but to cancel the entire week of scheduled events and indefinitely postpone the public opening slated for the following Tuesday. The incident left attendees, with a large number having journeyed from overseas, shaken and highlighted the intense local politics surrounding the museum's creation.

The Heart of the Contention

The protests stem from a profound disagreement over the museum's identity and governance. Demonstrators and their supporters, including figures associated with the royal palace, argue that the institution should carry the name the Benin Royal Museum. They contend it must operate under the Oba of Benin, Ewuare II's direct governance. The current name, Museum of West African Art, and its status as a self-governing, non-commercial body is viewed by critics as an attempt to sideline the traditional custodian of Benin's culture. This conflict taps into a deeper sentiment that a community initiative, rooted in the heritage of the Benin Kingdom, has been co-opted by external interests, diminishing the role of its rightful guardians.

A Flashpoint for Political Rivalry

The museum controversy is inextricably linked to a fierce political rivalry between the current Edo State administration and its predecessor. The project was championed by the former governor, Godwin Obaseki, a fact that has drawn the ire of the new state government led by Governor Monday Okpebholo. In a dramatic escalation, Governor Okpebholo officially revoked the museum's Certificate of Occupancy just a day after the protests. He cited "overriding public interest" for the decision, declaring the land would revert to its previous use as the site of the State Central Hospital, a historic institution demolished to make way for the museum—a move that had already generated significant public outcry.

The Shadow of the Benin Bronzes

Initially, a core part of MOWAA's mission was to provide a repository for the Benin Bronzes. These thousands of intricate plaques and sculptures were taken by British troops during the punitive expedition of 1897. However, the contentious issue of their ownership has prevented any of these repatriated artefacts from being located in the institution. In 2023, a presidential decree affirmed the Oba of Benin as the custodian of all returned bronzes. This ruling effectively sidelined MOWAA in the restitution process, forcing the museum to reorient its mission to showcase contemporary and modern works, though it has failed to quell the controversy surrounding its purpose.

MOWAA's Asserted Independence

In response to the turmoil, MOWAA's leadership has repeatedly stressed its autonomy. A representative for the cultural center clarified that the facility is an autonomous, not-for-profit entity. They explained that while former governor Obaseki endorsed the undertaking, he possesses no stake, monetary or otherwise, in the institution. Phillip Ihenacho, the executive director, clarified that the decision to adopt a pan-West African identity, rather than one solely focused on Benin, was to give the institution a broader scope and purpose beyond Nigeria's borders. This stance, however, has not placated those who see the museum as an affront to local tradition.

A Governor's Decisive Action

Governor Monday Okpebholo's revocation of the museum's land title represents a significant blow to the project. The governor's office announced the 6.2-hectare plot would be restored to its original function as the Benin Central Hospital. This move aligns the current state government with the Oba of Benin, who has been a vocal critic of the MOWAA project. The governor condemned the demolition of the hospital to build a museum, framing the decision as a matter of responsible, people-centred development. This action has been lauded by those who opposed the museum's construction on the historic hospital grounds from the outset.

The Royal Perspective

The Oba of Benin, Ewuare II, has been unequivocal in his opposition to MOWAA in its current form. He has publicly stated that the project was conceived and presented to donors as the Benin Royal Museum, alleging that its renaming and restructuring were done without transparency. The monarch has called for a thorough investigation into the museum's funding and governance. He views the attempt to establish MOWAA as an independent entity as a violation of the Benin Kingdom's sovereign right to its cultural treasures. He has also announced his own plans to build a royal museum within the palace grounds to house the repatriated Benin Bronzes.

International Funding and Diplomatic Fallout

The disruption has caused embarrassment on an international scale, particularly as the preview event was attended by foreign diplomats, including the German Ambassador and the European Union Ambassador to Nigeria. Germany has been a significant partner in cultural preservation and has returned numerous Benin Bronzes. Following the protest, a high-powered delegation of European diplomats met with both Governor Okpebholo and the Oba of Benin in a bid to mediate the crisis. The German Ambassador, Dr Annett Günther, emphasised that peace and transparency were crucial for sustaining MOWAA's cultural and educational mission, underscoring the international community's investment in a peaceful resolution.

Image Credit - by KathleenFowlds, CC BY-SA 4.0, via Wikimedia Commons

Architectural Vision Meets Local Reality

The museum's design, helmed by the renowned British-Ghanaian architect Sir David Adjaye, was envisioned as a landmark cultural hub. Adjaye's plans for the MOWAA Institute, the first phase of the project, feature a sustainable design using locally sourced rammed earth. The institute is intended to provide state-of-the-art facilities for conservation, research, and exhibitions. It was planned as a space to reclaim and re-imagine a culture nearly lost to colonialism. However, this grand architectural vision has collided with the complex realities of local politics and cultural ownership, leaving the future of the ambitious project uncertain.

The Legacy Restoration Trust

The entity behind MOWAA is the Legacy Restoration Trust (LRT), an independent, not-for-profit body established to support high-value cultural heritage projects in Nigeria. The LRT's flagship project was the establishment of what was initially called the Edo Museum of West African Art (EMOWAA). The trust was formed out of discussions between the Oba of Benin, the Edo State Government, and Nigeria's National Commission for Museums and Monuments. Its purpose was to create a governance structure capable of attracting international funding and technical support. However, this independent model is now at the centre of the dispute, with critics arguing it divorces the museum from its cultural and political context.

A Shift in Focus

Since housing the Benin Bronzes was no longer an option, MOWAA's leadership has repositioned the institution's mission. The museum now states its primary emphasis is on contemporary and modern artworks from across West Africa, alongside historical collections. The Director of the MOWAA Institute, Ore Disu, has spoken of creating a space for dialogue and ensuring the local community feels represented. The institute aims to be a centre for training a new generation of cultural heritage professionals. This change in direction, however, has been viewed with suspicion by those who believe the institution used the appeal of housing the Benin Bronzes to secure its initial funding and support.

Public and National Reaction

The incident has sparked a wide range of reactions across Nigeria. Many in the Nigerian art community have expressed dismay, viewing the disruption as detrimental to the country's reputation as a cultural superpower. The Lagos-based Zero Prive gallery commented that the situation was not good optics for Edo State or for Nigeria. Nigeria's Minister of Art, Culture, and the Creative Economy, Hannatu Musawa, condemned the disruption. She stated that such actions endanger a treasured cultural asset and threaten the peaceful environment necessary for cultural exchange and preservation. The federal government has indicated it is closely monitoring the situation.

The Demolished Hospital Controversy

A significant source of local anger predating the recent protests was the demolition of the Benin Central Hospital to clear the land for the museum. This century-old institution was a cherished landmark, and its destruction was seen by many as a profound disrespect to the community's heritage and a disregard for its healthcare needs. Opponents questioned the rationale of destroying a functioning hospital to build a museum. This underlying grievance provided fertile ground for the subsequent protests against MOWAA itself, framing the project in the minds of many as an imposition that came at a great cost to the local populace.

Allegations of Misrepresentation

A key accusation levelled by the Oba of Benin is that the museum's organisers secured funding from international donors under the false pretence that they were constructing the Benin Royal Museum. The monarch has alleged that the project's name and structure were changed deceitfully after the funds were acquired. MOWAA's management has vehemently denied these claims. In a public statement, Phillip Ihenacho, the director, insisted the facility never promoted itself as the Benin Royal Museum and urged authorities to confirm this directly with all donors. This dispute over the project's foundational promises remains a central point of contention.

An Uncertain Path Forward

With its opening indefinitely postponed and its land title revoked, the future of the cultural center is precarious. The Edo State government has established a committee, chaired by former governor Adams Oshihole, to investigate the museum's legal and operational status. This committee is tasked with re-engaging donors and realigning the project with what the current administration and the Oba view as its original purpose. For MOWAA to proceed, it will require a resolution to the deep-seated disputes over its name, its governance, and its relationship with the traditional authority of the Benin Kingdom.

The Broader Context of Restitution

The turmoil surrounding MOWAA unfolds against the backdrop of a global conversation about the restitution of African artefacts. While numerous Western institutions have begun returning items looted during the colonial era, the MOWAA case highlights the complex challenges that can arise on the receiving end. The dispute in Benin City reveals that the physical return of artefacts is only one part of a much larger process. Questions of who owns these returned treasures, where they should be housed, and who controls their narrative are proving to be deeply contentious issues that Nigeria is now grappling with on the world stage.

A Vision for Cultural Renaissance

Supporters of MOWAA maintain that the project is a vital cultural asset for Nigeria. They argue that the state-of-the-art facility, designed by a world-class architect, would position Benin City as a global hub for art and culture. The vision was to create not just a museum, but a comprehensive cultural district that would foster research, conservation, and education, while also stimulating tourism and economic growth. The former Obaseki administration promoted the museum as a cornerstone of a cultural renaissance. Whether this vision can be salvaged from the current political and cultural maelstrom remains to be seen.

The Role of Community Engagement

The protests have underscored a perceived failure in community engagement. A local resident explained that the public’s frustration originates from a widespread perception that an external body has taken over a community initiative. The Director of the MOWAA Institute, Ore Disu, acknowledged the misinformation surrounding their work and stressed the importance of creating spaces for dialogue. For the museum to gain local acceptance, it must address the feeling of marginalisation among stakeholders who feel their voices have been ignored in decisions concerning their own cultural assets. Building trust with the community and the royal palace will be a critical step in resolving the impasse.

Economic and Social Implications

The successful launch of MOWAA was anticipated to bring significant economic and social benefits to Benin City and Edo State. The project was expected to create jobs, attract international tourism, and provide educational opportunities for a new generation of Nigerians in the creative and heritage sectors. The current standoff threatens to derail these potential benefits. The controversy serves as a cautionary tale about the complexities of large-scale development projects that intersect with sensitive issues of heritage and political power. The resolution will have lasting implications for how cultural institutions are developed and governed in Nigeria.

Awaiting Resolution

All parties now await the findings of the committee established by the Edo State government. The future of the valuable cultural institution hangs in the balance. The standoff has highlighted the delicate interplay between modern governance, traditional authority, and the stewardship of a priceless cultural legacy. The international partners and donors who have invested in the project are watching closely, hoping for a resolution that respects all stakeholders and allows the core mission of preserving and celebrating West African art to move forward. The world watches to see if this symbol of cultural rebirth can overcome the divisions that have marred its beginning.