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Nigeria's remarkable new West African Art Museum (Mowaa) has found itself in the crosshairs of local power politics during the period it was expected to – but was unable – to begin operations to the general public for the first time.

The Ambitious Project

The 15-acre facility sits in the core of Benin City, main city of the southern area of Edo – and features an historical dig and structures created by high-profile dual heritage architect Sir David Adjaye, particularly noted for the Washington African American Museum that opened in Washington in 2016.

It has been 60 months in the creation – and is envisioned to honor both the heritage and the present of artistic expression in the locale famous for the cultural artifacts, artworks looted from the king's palace by British troops in the 1800s.

Readiness and Potential

It is remarkable – and before the anticipated opening, Mowaa was buzzing with workers resolved to demonstrate it is a place that can match established art institutions in the Europe and America.

Internally art restorers precisely revealed artworks from secure wrapping, inspecting each piece and taking thorough documentation before placing them on display surfaces and bases.

Technicians adjusted temperature regulation systems. In the materials science laboratory, personnel set up equipment intended to maintain historical objects.

Funding and Economic Goals

The initiative has been the brainchild of investor Phillip Ihenacho – now Mowaa's executive director.

"I aim us to have a significant economic impact on local residents around here," he told the press, adding that he aspired to make this urban center "an arts hub."

Mowaa, a non-profit national foundation, aims at generating in excess of 30,000 direct and indirect jobs and contributing more than $80m each year to the local cultural industry through collaborations and activities.

Financial Support and Government Issues

It has required $25m to achieve this stage – funds raised from multiple contributors, including the French and German governments, the London institution and the Edo state government.

But currently the local government has pulled the rug from under it – revoking the occupancy of the property on which the museum was built.

An government communicator clarified this was because in the initial documents it had referred to itself as Edo Museum of West African Art – and it had since eliminated "the regional name" from its title.

Unrest and Official Response

This announcement came after demonstrations on the weekend, when activists invaded the complex calling for it be designated the Museum of the Benin Kingdom.

A rowdy group insulted foreign guests at the venue before the inauguration – forcing them to be hurried away under police escort.

President Bola Tinubu has also stepped in to try and resolve the dispute, creating a presidential committee to do some damage control.

Governance Issues

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

Much of it results from local power struggles at a regional government level, as it was Edo's previous governor Godwin Obaseki – whose administration finished last year – who was a key supporter of the initiative.

And it looks like the leadership of the current leader, a close ally of the local traditional ruler, referred to as the traditional leader, may seek increased control in the project. The activists on the weekend, for instance, were insisting that the museum be put under the authority of the current Oba.

The Benin Bronzes Controversy

This brings into focus the controversial matter of the Benin Bronzes, one of Africa's most renowned cultural treasures.

Because although the institution does eventually welcome visitors, these artifacts will be noticeably missing.

They are metal, elephant tusk and timber carvings that once decorated the king's residence of the ancient kingdom before UK forces looted them in the late nineteenth century during a military operation.

Nowadays, numerous continue to be distributed across galleries in the West -- featuring the UK institution, German museum and the Metropolitan Museum of Art.

Restitution Efforts

Their return has become one of the most contested discussions in the worldwide cultural sector. Roughly 150 have currently been returned – and more are due to follow.

When ideas for the museum in the city were originally proposed in 2019, the influential figures on Nigeria's art scene hoped it would become their perfect venue – a state-of-the-art complex to display them to the world.

But the waters were muddied two years ago after the national authorities declared that the royal leader would be the legal custodian of returned objects – and the monarch's court campaigned for a museum under the monarch's supervision, contrary to the desires of the former governor.

Strategic Positioning

This placed Mowaa in a challenging circumstance: asserting a clear stance on return while being careful on custodianship – and emphasising its broader vision, which led to|c