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Nigeria's remarkable new Museum of West African Art (Mowaa) has found itself in the center of area political conflicts during the week it was scheduled to – but failed – to begin operations to the public for the very first time.

The Grand Vision

The six-hectare campus stands in the heart of Benin's urban center, capital of the southern state of Edo – and includes an historical dig and buildings designed by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that began operations in Washington DC in 2016.

It has been half a decade in the making – and is designed to celebrate both the history and the current era of artistic expression in the region renowned for the historic artworks, historical pieces looted from the royal palace by British troops in the 1800s.

Preparation and Promise

It is remarkable – and ahead of the anticipated opening, Mowaa was buzzing with employees committed to prove it is a place that can rival established art institutions in the Europe and America.

Internally preservation experts precisely revealed art pieces from secure wrapping, examining each item and taking detailed documentation before arranging them on walls and stands.

Experts calibrated environmental controls. In the research lab, officers adjusted instruments designed to maintain ancient items.

Funding and Economic Goals

The initiative has been the idea of investor Phillip Ihenacho – presently Mowaa's managing director.

"I hope us to have a significant financial effect on area populations in the vicinity," he explained to journalists, adding that he aspired to make this urban center "a tourism center."

Mowaa, a non-profit Nigerian institution, aims at generating over 30,000 employment opportunities and providing above $80m per year to the area arts sector through alliances and activities.

Investment and Administrative Problems

It has needed $25m to reach this point – money gathered from various contributors, featuring the European governments, the London institution and the local administration.

But at present the local government has withdrawn support from beneath it – terminating the occupancy of the property on which the building was erected.

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

Protests and Political Intervention

This statement followed rallies on the weekend, when activists invaded the facility insisting it be designated the Benin Royal Museum.

A rowdy assembly confronted international visitors at the venue before the inauguration – compelling them to be quickly removed under security protection.

President Bola Tinubu has even stepped in to work to address the dispute, creating a high-level committee to address the controversy.

Governance Issues

But why has this become so politicised – and such a public relations crisis?

The majority of it results from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose administration concluded recently – who was a key supporter of the museum.

And it appears the administration of the recently elected official, a key associate of the regional monarch, known as the royal figure, may desire greater involvement in the project. The activists on that day, for example, were calling for that the institution be positioned under the control 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 historical legacy.

Because even if the institution does eventually begin operations, these bronzes will be clearly not present.

They are metal, elephant tusk and timber sculptures that once decorated the monarch's home of the ancient kingdom before UK forces took them in the colonial era during a colonial invasion.

Nowadays, numerous stay spread across institutions in Europe and North America -- including the UK institution, German museum and the Metropolitan Museum of Art.

Return Initiatives

Their repatriation has become one of the most contested debates in the global art world. About 150 have currently made their way home – and further are expected to return.

When plans for the facility in Benin City were first announced in the pre-pandemic era, the movers and shakers on the country's cultural sector hoped it would become their perfect venue – a state-of-the-art campus to display them to the global audience.

But the issues became confused some time back after the federal government announced that the traditional ruler would be the legal custodian of returned objects – and the royal household advocated for a facility under the royal family's direct control, contrary to the wishes of the ex-leader.

Strategic Positioning

This placed Mowaa in a challenging circumstance: expressing a clear stance on repatriation while remaining diplomatic on ownership – and emphasising its larger purpose, which led to|c