The much-awaited opening of the Museum of West African Art (MOWAA) in Benin City, Nigeria, was abruptly canceled on Sunday after protesters forced their way into the building during a preview event. More than 250 invited guests, including donors, diplomats, heads of national cultural agencies, and program partners, had gathered for the preview of the museum, which has cost an estimated $31 million so far.
The guests were scheduled to experience a cultural program featuring "Nigeria Imaginary: Homecoming," an expanded presentation of the Nigerian Pavilion at the 2024 Venice Biennale. The exhibition brings together 11 prominent artists, including Yinka Shonibare CBE RA, Toyin Ojih Odutola, Ndidi Dike, Tunji Adeniyi-Jones, and Precious Okoyomon, inviting audiences to imagine Nigeria as a constellation of histories, futures, and creative possibilities. The planned program also included artist talks and lectures, with expected speakers including Okoyomon and Nigerian-born writer Ben Okri.
Late in the morning, after the first group of guests had arrived at the venue, a crowd of mostly male protesters wearing red hats appeared at the gate. They shouted that the launch would not continue, claiming "this place is under investigation." The protesters blocked access to arriving guests while shouting accusations about Godwin Obaseki, the former governor of Edo State, and the construction of MOWAA.
Around noon, once attendees had settled inside the auditorium for the opening address, the protesters forced their way into the main building and hurled threats at security and staff who attempted to restrain them. Guests were quickly escorted to a room adjacent to the auditorium while members of MOWAA's team worked to calm the protesters. All remaining events were then canceled indefinitely, and the museum's official opening, originally scheduled for November 11, has been postponed with no new date announced.
The specific motivations and identities of the protesters remain unclear. Rumors circulated that they were sent by the Oba of Benin, the traditional ruler of the Edo people, whose displeasure reportedly stems from issues around funding as well as the restitution and safekeeping of the Benin Bronzes. MOWAA was originally expected to house a collection of Benin Bronzes, artifacts looted by the British from the Kingdom of Benin in 1897. However, a dispute between political factions has meant that none of these objects have been transferred to the site.
Following the protest, MOWAA released a statement clarifying its independence, saying that despite the fact that Obaseki made an early donation to its construction, it is "an independent non-profit institution in which the former governor [now] has no interest, financial or otherwise." Phillip Ihenacho, MOWAA's director and executive chair, explained to The Art Newspaper: "We have been caught up in a complex local situation. There are misperceptions about what we are and what we are not."
Ihenacho further clarified the museum's position regarding the controversial Benin Bronzes: "Yes, we started during the discussions of restitution of Benin Bronzes, but fairly quickly afterwards, from 2021 onwards, we have tried to make it clear that we are not a receptacle for the Benin Bronzes. We do not have an entitlement to Benin Bronzes, and we are not trying to compete with other museums established in Benin. Our strong belief is that Benin City needs multiple points of interest from multiple museums."
Ore Disu, the director of the MOWAA Institute, which is part of the broader campus where the museum is located, expressed disappointment about the disruption while emphasizing the institution's commitment to the community. "It's been an honor to demonstrate with my team that we can provide conservation and exhibition practice at a global standard," Disu said. "It was unfortunate that during the proceedings we had members of the local community who have been misinformed about our work. It's incredibly important that we create spaces for dialogue and that members of the community see this as a place where they have access and where they are represented."
The incident highlights the complex cultural and political tensions surrounding the repatriation of African artifacts and the establishment of new cultural institutions in Nigeria. No new opening date has been confirmed for the museum at the time of this report, leaving the future of this significant cultural project uncertain.
