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Nigeria's impressive new Museum of West African Art (Mowaa) has landed in the crosshairs of local power politics during the period it was supposed to – but did not manage – to begin operations to the public for the very first time.

The Major Initiative

The six-hectare campus is located in the core of Benin's urban center, capital of the southern area of Edo – and includes an archaeological dig and buildings created by celebrated Ghanaian-British architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in the US capital in 2016.

It has been five years in the development – and is designed to honor both the past and the present of artistic expression in the locale famous for the cultural artifacts, cultural objects looted from the king's palace by UK forces in the 19th Century.

Preparation and Promise

It is impressive – and before the planned opening, Mowaa was active with workers determined to prove it is a institution that can rival well-known cultural centers in the West.

Inside conservators carefully unwrapped artworks from secure wrapping, checking each item and taking detailed records before arranging them on exhibition areas and stands.

Experts adjusted temperature regulation systems. In the scientific facility, officers set up devices intended to maintain historical artefacts.

Financial Backing and Economic Vision

The project has been the brainchild of investor Phillip Ihenacho – now Mowaa's managing director.

"I aim us to have a major financial effect on local residents in this region," he explained to the press, mentioning that he aspired to make this urban center "a cultural destination."

Mowaa, a not-for-profit national foundation, envisions itself establishing over 30,000 direct and indirect jobs and adding 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 collected from different donors, including the French and German governments, the UK museum and the regional authorities.

But now the local government has revoked permission from beneath it – terminating the utilization of the property on which the building was erected.

An official representative stated this was because in the early agreements it had identified as Edo Museum of West African Art – and it had since removed "the regional name" from its name.

Demonstrations and Government Action

This announcement was preceded by rallies on Sunday, when activists entered the complex insisting it be designated the Benin Royal Museum.

A boisterous assembly harassed overseas dignitaries at the museum before the launch – requiring them to be hurried away under police escort.

National leader Bola Tinubu has also intervened to work to address the conflict, setting up a special task force to do some damage control.

Governance Issues

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

Much of it stems from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration finished recently – who was a key supporter of the museum.

And it appears the government of the recently elected official, a close ally of the regional monarch, called the Oba, may seek greater involvement in the venture. The demonstrators on Sunday, for instance, were insisting that the facility be positioned under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the Benin Bronzes, one of the continent's most celebrated cultural treasures.

Because though the facility does finally open, these bronzes will be noticeably missing.

They are metal, elephant tusk and wooden carvings that once adorned the king's residence of the historical empire before colonial troops looted them in 1897 during a military operation.

Today, thousands remain spread across institutions in Europe and North America -- including the British Museum, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their repatriation has become one of the most disputed discussions in the worldwide cultural sector. Roughly 150 have presently been returned – and additional are due to follow.

When proposals for the institution in the urban center were originally proposed in the pre-pandemic era, the influential figures on the national arts community hoped it would become their perfect venue – a modern campus to show them off to the global audience.

But the situation became complicated some time back after the federal government stated that the Oba would be the proper guardian of repatriated artifacts – and the monarch's court advocated for a facility under the monarch's supervision, contrary to the wishes of Obaseki.

Political Navigation

This placed Mowaa in a difficult situation: expressing a clear stance on repatriation while staying tactful on custodianship – and stressing its larger purpose, which led to|c