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Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the center of local power politics during the period it was expected to – but was unable – to open its doors to the public for the very first time.

The Major Initiative

The large-scale facility stands in the center of Benin's urban center, capital of the southern state of Edo – and contains an historical dig and facilities planned by renowned dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the making – and is planned to honor both the heritage and the modern times of artistic expression in the region famous for the Benin Bronzes, historical pieces taken from the royal palace by British soldiers in the 1800s.

Preparation and Promise

It is remarkable – and before the scheduled opening, Mowaa was buzzing with workers determined to demonstrate it is a venue that can compete with well-known museums and galleries in the Western world.

Within art restorers carefully unwrapped cultural items from safety materials, inspecting each piece and taking thorough documentation before positioning them on exhibition areas and bases.

Experts adjusted climate control systems. In the research lab, staff members set up devices meant to preserve historical objects.

Funding and Economic Goals

The project has been the concept of businessman Phillip Ihenacho – currently Mowaa's chief executive.

"I want us to have a substantial financial effect on area populations in the vicinity," he explained to the press, noting that he wanted to make Benin City "an arts hub."

Mowaa, a not-for-profit local organization, envisions itself establishing in excess of 30,000 employment opportunities and adding over $80m annually to the regional creative economy through alliances and activities.

Investment and Administrative Problems

It has needed $25m to achieve this stage – funds raised from different donors, such as the European governments, the British Museum and the regional authorities.

But at present the regional administration has pulled the rug from beneath it – canceling the use of the land on which the museum was built.

An Edo state spokesperson explained this was because in the initial documents it had referred to itself as the Edo-named institution – and it had since dropped "Edo" from its designation.

Demonstrations and Government Action

This announcement came after rallies on Sunday, when protesters entered the campus calling for it be named the Benin Royal Museum.

A disruptive crowd insulted overseas dignitaries at the facility prior to the inauguration – forcing them to be hurried away under police escort.

Head of state Bola Tinubu has even intervened to work to address the conflict, establishing a presidential committee to do some damage control.

Administrative Challenges

But in what way has this become so controversial – and such a public relations crisis?

Much of it comes down to local power struggles at a area administrative level, as it was the ex-administrator Godwin Obaseki – whose governance ended the previous year – who was a primary advocate of the initiative.

And it seems the administration of the current leader, a key associate of the local traditional ruler, referred to as the royal figure, may seek increased control in the initiative. The protesters on the weekend, for case, were insisting that the museum be placed under the authority of the royal leader.

The Cultural Artifacts Debate

This highlights the disputed topic of the Benin Bronzes, one of the continent's most celebrated artistic heritage.

Because though the institution does finally welcome visitors, these bronzes will be noticeably missing.

They are metal, elephant tusk and timber carvings that once adorned the royal palace of the historical empire before British soldiers took them in the colonial era during a punitive expedition.

Today, many remain spread across institutions in Western nations -- featuring the British Museum, German museum and the New York institution.

Restitution Efforts

Their repatriation has become one of the most contested conversations in the worldwide cultural sector. About 150 have currently been returned – and more are expected to return.

When proposals for the museum in Benin City were initially revealed in the pre-pandemic era, the influential figures on Nigeria's art scene hoped it would become their natural home – a advanced complex to exhibit them to the global audience.

But the waters were muddied two years ago after the central administration stated that the traditional ruler would be the rightful owner of repatriated artifacts – and the palace pushed for a institution under the king's authority, contrary to the wishes of Obaseki.

Diplomatic Challenges

This left Mowaa in a delicate position: expressing a clear stance on return while staying tactful on custodianship – and stressing its larger purpose, which led to|c