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Nigeria's impressive new Art Museum of West Africa (Mowaa) has found itself in the crosshairs of local power politics during the period it was scheduled to – but was unable – to begin operations to the general public for the very first time.

The Ambitious Project

The 15-acre facility is located in the heart of Benin's urban center, capital of the southern state of Edo – and includes an archaeological dig and facilities planned by renowned British-Ghanaian architect Sir David Adjaye, best known for the Smithsonian African American Museum that opened in Washington DC in 2016.

It has been five years in the creation – and is envisioned to showcase both the past and the current era of artistic expression in the region famous for the cultural artifacts, cultural objects taken from the city's royal palace by British soldiers in the nineteenth century.

Setup and Prospects

It is remarkable – and ahead of the scheduled opening, Mowaa was active with staff determined to show it is a venue that can compete with established cultural centers in the Western world.

Inside art restorers carefully unwrapped artworks from secure wrapping, checking each piece and taking detailed records before placing them on walls and bases.

Experts calibrated climate control systems. In the research lab, personnel adjusted devices meant to maintain ancient objects.

Investment and Economic Plans

The project has been the idea of entrepreneur Phillip Ihenacho – currently Mowaa's executive director.

"I aim us to have a major economic benefit on local residents in this region," he told the press, adding that he wanted to make the city "a tourism center."

Mowaa, a charitable local organization, envisions itself creating over 30,000 direct and indirect jobs and providing over $80m each year to the regional creative economy through alliances and programming.

Funding Sources and Political Challenges

It has needed $25m to reach this point – funds collected from multiple supporters, including the French and German governments, the British Museum and the Edo state government.

But now the local government has withdrawn support from under it – revoking the utilization of the property on which the museum was built.

An government communicator stated this was because in the early agreements it had referred to itself as EMOWAA – and it had since removed "the state identifier" from its designation.

Unrest and Official Response

This statement came after protests on Sunday, when protesters invaded the complex demanding it be called the Museum of the Benin Kingdom.

A disruptive assembly confronted international visitors at the facility ahead of the opening – requiring them to be escorted out under security protection.

Head of state Bola Tinubu has also intervened to attempt to settle the dispute, establishing a presidential committee to do some damage control.

Governance Issues

But how has this turned into so divisive – and such a public relations crisis?

Much of it stems from local power struggles at a local state level, as it was the former state leader Godwin Obaseki – whose governance concluded last year – who was a major backer of the initiative.

And it looks like the leadership of the current leader, a strong supporter of the regional monarch, referred to as the traditional leader, may desire more of a stake in the initiative. The protesters on the weekend, for case, were demanding that the facility be positioned under the supervision of the current Oba.

The Historical Objects Discussion

This highlights the contentious issue of the historical artworks, one of Africa's most renowned historical legacy.

Because although the museum does eventually open, these bronzes will be noticeably missing.

They are metal, ivory and wooden carvings that once decorated the royal palace of the ancient kingdom before colonial troops looted them in the colonial era during a punitive expedition.

Today, thousands remain spread across institutions in the West -- featuring the London museum, European center and the New York institution.

Restitution Efforts

Their repatriation has become one of the most contested debates in the worldwide cultural sector. About 150 have presently come back – and additional are due to follow.

When ideas for the facility in Benin City were initially revealed in the pre-pandemic era, the key players on the national arts community hoped it would become their perfect venue – a modern facility to exhibit them to the world.

But the waters were muddied two years ago after the national authorities stated that the traditional ruler would be the proper guardian of any returned bronzes – and the monarch's court campaigned for a museum under the king's authority, opposing the desires of the former governor.

Political Navigation

This left Mowaa in a challenging circumstance: expressing a definite position on repatriation while staying tactful on ownership – and emphasising its larger purpose, which led to|c