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

The Grand Vision

The six-hectare facility sits in the center of the Edo state capital, administrative center of the southern area of Edo – and features an archaeological dig and buildings planned by celebrated dual heritage architect Sir David Adjaye, most famous for the Smithsonian African American Museum that was inaugurated in Washington in 2016.

It has been five years in the creation – and is designed to honor both the heritage and the current era of cultural innovation in the locale famous for the historic artworks, artworks looted from the royal palace by British soldiers in the 1800s.

Setup and Prospects

It is remarkable – and before the anticipated opening, Mowaa was energetic with workers committed to demonstrate it is a institution that can compete with well-known museums and galleries in the Europe and America.

Within conservators meticulously revealed art pieces from secure wrapping, inspecting each item and taking detailed documentation before arranging them on walls and stands.

Technicians fine-tuned environmental controls. In the research lab, officers calibrated equipment intended to maintain centuries-old objects.

Investment and Economic Plans

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

"I hope us to have a major economic benefit on local residents in the vicinity," he stated to the press, adding that he aspired to make the city "a cultural destination."

Mowaa, a charitable national foundation, sees itself establishing over 30,000 direct and indirect jobs and providing over $80m annually to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has required $25m to achieve this stage – capital raised from multiple donors, including the European governments, the London institution and the Edo state government.

But at present the state authorities has withdrawn support from beneath it – terminating the occupancy of the property on which the facility was constructed.

An Edo state spokesperson explained this was because in the early agreements it had called itself EMOWAA – and it had later dropped "Edo" from its title.

Unrest and Official Response

This declaration came after demonstrations on the weekend, when people stormed the complex insisting it be named the Royal Benin Museum.

A boisterous crowd confronted overseas dignitaries at the museum ahead of the inauguration – forcing them to be quickly removed under police escort.

Head of state Bola Tinubu has also become involved to work to address the dispute, establishing a high-level committee to address the controversy.

Governance Issues

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

The majority of it results from internecine rivalries at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded last year – who was a major backer of the museum.

And it appears the administration of the current leader, a close ally of the regional monarch, called the Oba, may desire more of a stake in the project. The demonstrators on the weekend, for instance, were insisting that the facility be put under the supervision of the royal leader.

The Benin Bronzes Controversy

This highlights the controversial matter of the cultural artifacts, one of Africa's most renowned artistic heritage.

Because although the institution does ultimately welcome visitors, these bronzes will be conspicuously absent.

They are metal, ivory and timber artworks that once adorned the monarch's home of the Benin Kingdom before colonial troops took them in the late nineteenth century during a punitive expedition.

Nowadays, numerous remain spread across museums in the West -- such as the UK institution, Berlin's Humboldt Forum and the American museum.

Return Initiatives

Their homecoming has become one of the most contested discussions in the global art world. About 150 have now made their way home – and more are due to follow.

When plans for the institution in Benin City were initially revealed in the pre-pandemic era, the influential figures on the national arts community anticipated it would become their perfect venue – a advanced complex to exhibit them to the world.

But the situation became complicated some time back after the federal government announced that the traditional ruler would be the legal custodian of repatriated artifacts – and the monarch's court advocated for a museum under the king's authority, contrary to the wishes of Obaseki.

Political Navigation

This left Mowaa in a difficult situation: maintaining a definite position on return while being careful on guardianship – and stressing its larger purpose, which led to|c