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Nigeria's impressive new Museum of West African Art (Mowaa) has ended up in the crosshairs of regional political struggles during the period it was expected to – but failed – to open its doors to the public for the very first time.

The Major Initiative

The six-hectare complex stands in the core of Benin's urban center, administrative center of the southern area of Edo – and features an historical dig and facilities created by high-profile British-Ghanaian architect Sir David Adjaye, best known for the Washington African American Museum that began operations in Washington DC in 2016.

It has been 60 months in the creation – and is envisioned to showcase both the heritage and the present of creativity in the area famous for the cultural artifacts, cultural objects looted from the city's royal palace by British troops in the 1800s.

Preparation and Promise

It is remarkable – and before the anticipated opening, Mowaa was buzzing with staff committed to demonstrate it is a place that can match established museums and galleries in the West.

Inside preservation experts meticulously opened artworks from safety materials, examining each artifact and taking detailed documentation before positioning them on display surfaces and bases.

Technicians fine-tuned temperature regulation systems. In the scientific facility, officers set up equipment intended to preserve ancient items.

Funding and Economic Goals

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

"I aim us to have a substantial financial effect on area populations around here," he explained to media outlets, adding that he aspired to make Benin City "a tourism center."

Mowaa, a non-profit Nigerian institution, sees itself generating in excess of 30,000 work positions and contributing above $80m annually to the area arts sector through partnerships and activities.

Investment and Administrative Problems

It has taken $25m to reach this point – funds raised from various donors, featuring the international partners, the London institution and the Edo state government.

But now the local government has revoked permission from under it – canceling the use of the property on which the museum was built.

An official representative explained this was because in the original paperwork it had referred to itself as EMOWAA – and it had later eliminated "the state identifier" from its name.

Unrest and Official Response

This statement was preceded by rallies on Sunday, when people stormed the complex demanding it be called the Benin Royal Museum.

A boisterous group confronted overseas dignitaries at the venue before the launch – requiring them to be escorted out under security protection.

Head of state Bola Tinubu has even intervened to try and resolve the conflict, setting up a high-level committee to address the controversy.

Governance Issues

But in what way has this evolved into so politicised – and such a public relations crisis?

The majority of it stems from local power struggles at a area administrative level, as it was Edo's previous governor Godwin Obaseki – whose term in office concluded last year – who was a key supporter of the initiative.

And it appears the government of the recently elected official, a strong supporter of the local traditional ruler, known as the royal figure, may seek more of a stake in the venture. The activists on the weekend, for instance, were calling for that the institution be positioned under the control of the royal leader.

The Historical Objects Discussion

This highlights the disputed topic of the Benin Bronzes, one of the region's most renowned cultural treasures.

Because even if the institution does eventually open, these objects will be noticeably missing.

They are metal, elephant tusk and timber carvings that once decorated the king's residence of the historical empire before colonial troops took them in 1897 during a colonial invasion.

Currently, thousands remain spread across galleries in the West -- such as the London museum, German museum and the Metropolitan Museum of Art.

Repatriation Campaigns

Their return has become one of the most debated debates in the worldwide cultural sector. About 150 have presently made their way home – and additional are expected to return.

When proposals for the institution in the urban center were originally proposed in 2019, the influential figures on the country's cultural sector hoped it would become their perfect venue – a advanced complex to show them off to the world.

But the waters were muddied recently after the central administration announced that the royal leader would be the legal custodian of repatriated artifacts – and the royal household advocated for a institution under the king's authority, contrary to the preferences of the former governor.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a specific viewpoint on restitution while staying tactful on guardianship – and highlighting its wider mission, which led to|c