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The nation's stunning new West African Art Museum (Mowaa) has found itself in the middle of regional political struggles during the time it was supposed to – but did not manage – to open its doors to the general public for the first time.

The Major Initiative

The 15-acre complex stands in the core of Benin City, capital of the southern state of Edo – and features an archaeological dig and buildings created by celebrated British-Ghanaian architect Sir David Adjaye, most famous for the Washington African American Museum that opened in Washington DC in 2016.

It has been half a decade in the development – and is designed to showcase both the heritage and the modern times of cultural innovation in the area renowned for the Benin Bronzes, cultural objects looted from the king's palace by British soldiers in the 19th Century.

Readiness and Potential

It is notable – and before the scheduled opening, Mowaa was active with workers resolved to show it is a institution that can match renowned art institutions in the West.

Inside art restorers carefully unwrapped artworks from protective packaging, examining each piece and taking meticulous documentation before positioning them on walls and bases.

Technicians adjusted environmental controls. In the materials science laboratory, personnel calibrated instruments designed to maintain historical objects.

Financial Backing and Economic Vision

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

"I hope us to have a substantial economic impact on area populations in the vicinity," he told media outlets, mentioning that he hoped to make Benin City "a cultural destination."

Mowaa, a charitable local organization, aims at generating over 30,000 direct and indirect jobs and adding more than $80m per year to the regional creative economy through partnerships and activities.

Financial Support and Government Issues

It has taken $25m to reach this point – money raised from various supporters, featuring the French and German governments, the London institution and the regional authorities.

But currently the regional administration has revoked permission from below it – canceling the occupancy of the land on which the facility was constructed.

An Edo state spokesperson explained this was because in the early agreements it had identified as EMOWAA – and it had later eliminated "the state identifier" from its title.

Unrest and Official Response

This statement was preceded by protests on Sunday, when activists invaded the campus demanding it be named the Museum of the Benin Kingdom.

A boisterous group harassed foreign guests at the museum before the launch – compelling them to be hurried away under police escort.

Head of state Bola Tinubu has additionally become involved to try and resolve the dispute, setting up a high-level committee to do some damage control.

Governance Issues

But why has this become so politicised – and such a reputation problem?

The majority of it comes down to internecine rivalries at a regional government level, as it was the ex-administrator Godwin Obaseki – whose governance ended last year – who was a key supporter of the initiative.

And it looks like the government of the recently elected official, a close ally of the local traditional ruler, called the Oba, may seek more of a stake in the venture. The protesters on that day, for example, were demanding that the institution be put under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the disputed topic of the historical artworks, one of the region's most famous cultural treasures.

Because even if the museum does eventually welcome visitors, these objects will be clearly not present.

They are metal, ivory and timber sculptures that once embellished the king's residence of the historical empire before British soldiers took them in the late nineteenth century during a military operation.

Nowadays, thousands continue to be spread across institutions in the West -- such as the London museum, European center and the New York institution.

Restitution Efforts

Their return has become one of the most disputed conversations in the worldwide cultural sector. Approximately 150 have now made their way home – and additional are scheduled to be repatriated.

When plans for the facility in the urban center were first announced in the pre-pandemic era, the movers and shakers on Nigeria's art scene anticipated it would become their natural home – a state-of-the-art facility to exhibit them to the international community.

But the issues became confused some time back after the federal government announced that the royal leader would be the proper guardian of returned objects – and the palace pushed for a museum under the king's authority, against the desires of the former governor.

Diplomatic Challenges

This placed Mowaa in a challenging circumstance: maintaining a definite position on return while being careful on ownership – and stressing its broader vision, which led to|c