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The nation's impressive new Art Museum of West Africa (Mowaa) has landed in the middle of local power politics during the period it was expected to – but was unable – to open its doors to the public for the first time.

The Major Initiative

The six-hectare campus is located in the core of Benin City, capital of the southern state of Edo – and contains an excavation site and structures designed by celebrated Ghanaian-British architect Sir David Adjaye, most famous for the Smithsonian African American Museum that opened in Washington in 2016.

It has been 60 months in the making – and is envisioned to showcase both the history and the present of artistic expression in the region known for the Benin Bronzes, historical pieces looted from the city's royal palace by British soldiers in the 19th Century.

Setup and Prospects

It is remarkable – and before the scheduled opening, Mowaa was energetic with employees resolved to show it is a venue that can match well-known cultural centers in the Europe and America.

Within conservators meticulously opened art pieces from secure wrapping, checking each piece and taking meticulous documentation before arranging them on display surfaces and bases.

Technicians calibrated temperature regulation systems. In the materials science laboratory, personnel calibrated instruments intended to preserve ancient objects.

Investment and Economic Plans

The venture has been the concept of businessman Phillip Ihenacho – now Mowaa's managing director.

"I aim us to have a significant financial effect on area populations in this region," he explained to the press, adding that he aspired to make Benin City "a cultural destination."

Mowaa, a non-profit local organization, aims at creating more than 30,000 direct and indirect jobs and contributing more than $80m each year to the local cultural industry through partnerships and activities.

Investment and Administrative Problems

It has needed $25m to reach this point – funds raised from multiple contributors, including the French and German governments, the UK museum and the Edo state government.

But now the local government has pulled the rug from beneath it – canceling the utilization of the property on which the facility was constructed.

An official representative explained this was because in the original paperwork it had called itself the Edo-named institution – and it had later removed "the regional name" from its name.

Demonstrations and Government Action

This declaration came after rallies on Sunday, when protesters stormed the campus insisting it be named the Royal Benin Museum.

A boisterous group confronted foreign guests at the facility ahead of the launch – forcing them to be quickly removed under security protection.

Head of state Bola Tinubu has even become involved to try and resolve the tensions, establishing a special task force to do some damage control.

Governance Issues

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

A great deal of it comes down to internal conflicts at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose governance concluded recently – who was a major backer of the initiative.

And it seems the administration of the recently elected official, a close ally of the area king, referred to as the traditional leader, may seek greater involvement in the venture. The protesters on the weekend, for instance, were calling for that the institution be positioned under the supervision of Oba Ewuare II.

The Benin Bronzes Controversy

This highlights the contentious issue of the Benin Bronzes, one of Africa's most celebrated historical legacy.

Because though the facility does finally begin operations, these artifacts will be clearly not present.

They are metal, elephant tusk and timber carvings that once adorned the king's residence of the Benin Kingdom before colonial troops looted them in the late nineteenth century during a military operation.

Nowadays, numerous remain spread across galleries in the West -- featuring the UK institution, German museum and the New York institution.

Restitution Efforts

Their homecoming has become one of the most debated discussions in the international art community. About 150 have now made their way home – and additional are scheduled to be repatriated.

When ideas for the institution in the city were initially revealed in 2019, the movers and shakers on Nigeria's art scene hoped it would become their natural home – a state-of-the-art facility to display them to the international community.

But the issues became confused two years ago after the national authorities declared that the Oba would be the legal custodian of any returned bronzes – and the monarch's court advocated for a institution under the royal family's direct control, contrary to the desires of the ex-leader.

Diplomatic Challenges

This placed Mowaa in a difficult situation: asserting a specific viewpoint on repatriation while remaining diplomatic on ownership – and stressing its wider mission, which led to|c