The Museum of West African Art is a large-scale, ongoing cultural development project in Benin City, Edo State, Nigeria. It’s not a single building but rather a “campus” or precinct that will include multiple institutions, including a main museum, an archaeological research institute, and creative hubs. It is positioned as a world-class institution dedicated to the art, history, and culture of West Africa, with a particular focus on the Benin Kingdom and its famous bronze and ivory artworks.
The Idea Behind Its Inception
The driving idea behind MOWAA is multifaceted, born from a pivotal moment in global cultural discourse:
- The Return of the Benin Bronzes: For over a century, thousands of Benin Bronzes—masterpieces looted by British forces during the punitive expedition of 1897—have been held in museums across Europe and America. In recent years, a powerful movement for restitution has gained momentum, with institutions in Germany, the UK, France, and the Netherlands committing to returning these artifacts. MOWAA was conceived as the primary destination and custodian for these returned treasures.
- Creating a “Homecoming”: The project’s founders argued that for restitution to be meaningful, the returned objects needed a state-of-the-art institution in their place of origin that could guarantee their security, conservation, and display according to international museum standards. MOWAA is designed to be that “home.”
- Reclaiming Cultural Narrative: Beyond just being a repository, MOWAA aims to be a center for research and education. The goal is to recenter the narrative around West African art, shifting it from a story told through a colonial lens in Western museums to one told by Africans, for Africans and the world. The associated Archaeological Research Institute is key to this, aiming to uncover and tell the deeper, 1000-year history of the Benin Kingdom.
- Economic and Cultural Revitalization: The project is also envisioned as an economic catalyst for Benin City and Nigeria, aiming to put it on the global tourism map, create jobs, and inspire a new generation of Nigerian artists and scholars.
Who Funds It?
MOWAA is funded through a combination of public and private sources, both Nigerian and international:
· The Nigerian Government (Edo State and Federal): The Edo State government, under Governor Godwin Obaseki, is a primary driver and funder of the project. They have provided land, political backing, and significant public funds for the initial development and infrastructure. The federal government also provides support.
· The British Museum: This is a crucial and controversial partner. The British Museum (which holds one of the world’s largest collections of Benin Bronzes) is prohibited by UK law from permanently deaccessioning objects from its collection. Instead, it has entered into a long-term partnership with MOWAA. This involves lending artifacts, providing curatorial expertise, and training. Funding and support flow through this partnership.
· International Foundations and Philanthropies: Key backers include:
· The Legacy Restoration Trust (LRT): A Nigerian non-profit established to drive the project and manage the restitution process.
· The Getty Trust: Provides expertise in conservation, museum planning, and professional training.
· Ford Foundation: A major donor providing significant grants for the construction and development of the museum campus.
· Private Donors: Wealthy Nigerian and international philanthropists also contribute to the funding.
The Controversy Surrounding MOWAA
Despite its ambitious goals, MOWAA has been met with significant controversy and criticism, primarily from two key groups: the Benin Royal Court (the Oba of Benin) and factions within the Nigerian cultural and academic community.
The core of the controversy boils down to control, legitimacy, and representation.
- The Battle with the Royal Palace: This is the most intense and public-facing controversy.
· The Oba’s Claim: The Oba of Benin, Ewuare II, is the traditional and spiritual ruler of the Benin Kingdom and is considered by his people to be the rightful custodian of all Benin cultural heritage. He and his supporters argue that the bronzes are palace property, looted from his ancestors, and must be returned directly to the Royal Palace.
· A Competing Project: The Oba has his own plan to build a Royal Benin Museum within his palace grounds. He views MOWAA (backed by the state government) as a direct rival that undermines his authority and cultural role.
· Political Power Struggle: The dispute has escalated into a major political and legal battle between the Edo State Government and the Royal Palace. The Oba has publicly condemned the MOWAA project, and there have been protests and strong statements from palace chiefs. - Criticism of Western Partnerships (Neocolonialism?):
· The British Museum Dilemma: Many critics find it deeply ironic and problematic that an institution housing looted art (the British Museum) is a key partner in the museum being built to host its return. They see this as a form of “soft power” or neocolonialism, where Western institutions maintain control over the narrative, expertise, and even the objects through loans rather than full restitution.
· Perpetuating Dependency: Critics argue that the project relies too heavily on Western validation, funding, and expertise, potentially replicating the power dynamics it claims to overcome. - Questions of Community Representation:
· Some local activists and academics question whether MOWAA truly represents the will of the Benin people or if it is a top-down project driven by elite politicians and international partners. They worry that the community whose heritage is at the core of the museum may have little say in its management.
Summary of the Situation
In essence, the Museum of West African Art represents a monumental and well-intentioned effort to create a world-class home for returned African art. However, it is caught in a complex web of:
· A legitimacy battle between modern state governance and traditional royal authority.
· An ethical debate about the role of Western museums in the restitution process.
· A fundamental question: Who has the right to steward and tell the story of a people’s cultural heritage?
The success of MOWAA will depend not only on its architectural and curatorial excellence but also on its ability to navigate these sensitive political and cultural waters and achieve a resolution that is seen as legitimate by the Benin people and the wider Nigerian public.
Centre for Nigeria Progress 