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Nigeria's impressive new Museum of West African Art (Mowaa) has ended up in the center of local power politics during the week it was expected to – but failed – to begin operations to the public for the first time.

The Major Initiative

The 15-acre complex sits in the core of the Edo state capital, administrative center of the southern state of Edo – and features an archaeological dig and buildings created by celebrated dual heritage architect Sir David Adjaye, most famous for the National Museum of African American History and Culture that was inaugurated in Washington DC in 2016.

It has been half a decade in the making – and is planned to showcase both the heritage and the modern times of cultural innovation in the locale famous for the Benin Bronzes, historical pieces taken from the king's palace by British troops in the 1800s.

Setup and Prospects

It is impressive – and ahead of the planned opening, Mowaa was energetic with workers determined to prove it is a venue that can match renowned museums and galleries in the Western world.

Internally conservators meticulously opened cultural items from safety materials, checking each artifact and taking thorough documentation before positioning them on exhibition areas and bases.

Specialists adjusted climate control systems. In the research lab, staff members adjusted equipment meant to maintain centuries-old objects.

Investment and Economic Plans

The venture has been the concept of businessman Phillip Ihenacho – currently Mowaa's managing director.

"I aim us to have a significant economic impact on communities in the vicinity," he told journalists, mentioning that he wanted to make Benin City "a tourism center."

Mowaa, a non-profit local organization, aims at generating more than 30,000 direct and indirect jobs and providing over $80m each year to the regional creative economy through alliances and events.

Funding Sources and Political Challenges

It has required $25m to achieve this stage – funds raised from various contributors, including the international partners, the UK museum and the Edo state government.

But at present the regional administration has revoked permission from under it – terminating the utilization of the land on which the building was erected.

An official representative explained this was because in the initial documents it had called itself EMOWAA – and it had since eliminated "Edo" from its designation.

Protests and Political Intervention

This declaration was preceded by protests on Sunday, when activists entered the facility calling for it be designated the Benin Royal Museum.

A rowdy group harassed international visitors at the venue prior to the opening – forcing them to be quickly removed under police escort.

Head of state Bola Tinubu has additionally become involved to work to address the tensions, establishing a special task force to address the controversy.

Governance Issues

But how has this evolved into so controversial – and such a PR disaster?

Much of it stems from local power struggles at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended the previous year – who was a major backer of the museum.

And it looks like the government of the current leader, a key associate of the local traditional ruler, known as the Oba, may desire greater involvement in the venture. The demonstrators on the weekend, for instance, were calling for that the facility be put under the authority of the royal leader.

The Historical Objects Discussion

This emphasizes the contentious issue of the historical artworks, one of the region's most famous artistic heritage.

Because even if the institution does eventually open, these objects will be clearly not present.

They are brass, ivory and timber carvings that once adorned the monarch's home of the ancient kingdom before colonial troops looted them in the colonial era during a punitive expedition.

Currently, thousands remain scattered across museums in Western nations -- such as the British Museum, Berlin's Humboldt Forum and the New York institution.

Repatriation Campaigns

Their return has become one of the most debated conversations in the global art world. Roughly 150 have now made their way home – and further are expected to return.

When proposals for the institution in Benin City were initially revealed in 2019, the movers and shakers on the country's cultural sector expected it would become their natural home – a advanced complex to show them off to the world.

But the waters were muddied recently after the central administration declared that the traditional ruler would be the legal custodian of any returned bronzes – and the monarch's court advocated for a facility under the king's authority, contrary to the preferences of Obaseki.

Political Navigation

This left Mowaa in a delicate position: maintaining a specific viewpoint on restitution while being careful on ownership – and emphasising its broader vision, which led to|c