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Nigeria's stunning new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the period it was supposed to – but did not manage – to welcome visitors to the public for the initial occasion.

The Ambitious Project

The 15-acre complex is located in the center of Benin City, administrative center of the southern state of Edo – and contains an historical dig and buildings created by renowned British-Ghanaian architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that opened in Washington DC in 2016.

It has been five years in the making – and is planned to honor both the past and the present of artistic expression in the area known for the Benin Bronzes, artworks stolen from the city's royal palace by British soldiers in the 1800s.

Setup and Prospects

It is impressive – and before the anticipated opening, Mowaa was active with workers resolved to show it is a place that can rival renowned cultural centers in the Western world.

Internally preservation experts precisely unwrapped cultural items from secure wrapping, examining each item and taking meticulous notes before positioning them on walls and stands.

Experts adjusted environmental controls. In the materials science laboratory, staff members calibrated equipment intended to conserve ancient artefacts.

Funding and Economic Goals

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

"I want us to have a substantial economic benefit on communities in this region," he stated to journalists, mentioning that he aspired to make Benin City "an arts hub."

Mowaa, a not-for-profit national foundation, envisions itself generating more than 30,000 work positions and adding over $80m annually to the regional creative economy through collaborations and programming.

Investment and Administrative Problems

It has taken $25m to get here – funds collected from various supporters, including the French and German governments, the London institution and the local administration.

But now the state authorities has withdrawn support from beneath it – revoking the use of the property on which the museum was built.

An official representative stated this was because in the original paperwork it had referred to itself as EMOWAA – and it had since removed "the state identifier" from its title.

Unrest and Official Response

This announcement followed protests on Sunday, when protesters entered the campus insisting it be called the Royal Benin Museum.

A boisterous group harassed overseas dignitaries at the venue prior to the launch – compelling them to be escorted out under security protection.

National leader Bola Tinubu has even stepped in to try and resolve the tensions, setting up a presidential committee to address the controversy.

Governance Issues

But why has this turned into so divisive – and such a PR disaster?

Much of it comes down to internecine rivalries at a local state level, as it was the ex-administrator Godwin Obaseki – whose administration finished last year – who was a primary advocate of the museum.

And it looks like the administration of the current leader, a strong supporter of the regional monarch, called the Oba, may seek increased control in the project. The protesters on that day, for instance, were insisting that the facility be put under the supervision of Oba Ewuare II.

The Historical Objects Discussion

This highlights the contentious issue of the cultural artifacts, one of the region's most celebrated artistic heritage.

Because though the museum does ultimately welcome visitors, these artifacts will be noticeably missing.

They are brass, ivory and timber artworks that once adorned the king's residence of the ancient kingdom before UK forces looted them in the colonial era during a punitive expedition.

Today, thousands remain scattered across institutions in Western nations -- such as the London museum, German museum and the American museum.

Restitution Efforts

Their repatriation has become one of the most disputed debates in the global art world. Approximately 150 have presently come back – and further are expected to return.

When plans for the facility in the urban center were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their perfect venue – a state-of-the-art complex to exhibit them to the global audience.

But the situation became complicated two years ago after the national authorities announced that the traditional ruler would be the rightful owner of any returned bronzes – and the monarch's court advocated for a museum under the royal family's direct control, opposing the desires of the ex-leader.

Strategic Positioning

This placed Mowaa in a difficult situation: expressing a specific viewpoint on return while being careful on ownership – and highlighting its broader vision, which led to|c