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Nigeria's impressive new Museum of West African Art (Mowaa) has found itself in the center of regional political struggles during the period it was expected to – but failed – to begin operations to the general public for the first time.

The Major Initiative

The large-scale complex sits in the center of Benin City, administrative center of the southern state of Edo – and contains an excavation site and structures created by renowned dual heritage 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 planned to showcase both the past and the present of artistic expression in the area renowned for the Benin Bronzes, cultural objects looted from the king's palace by British soldiers in the 19th Century.

Preparation and Promise

It is remarkable – and prior to the planned opening, Mowaa was buzzing with staff determined to show it is a place that can rival renowned cultural centers in the Europe and America.

Internally art restorers meticulously revealed art pieces from secure wrapping, checking each artifact and taking thorough documentation before positioning them on display surfaces and plinths.

Experts adjusted environmental controls. In the scientific facility, officers adjusted instruments designed to conserve historical objects.

Investment and Economic Plans

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

"I want us to have a significant financial effect on local residents in the vicinity," he told media outlets, mentioning that he hoped to make this urban center "an arts hub."

Mowaa, a non-profit Nigerian institution, sees itself establishing over 30,000 direct and indirect jobs and contributing more than $80m annually to the regional creative economy through collaborations and events.

Financial Support and Government Issues

It has required $25m to achieve this stage – funds collected from different donors, including the European governments, the UK museum and the local administration.

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

An official representative clarified this was because in the initial documents it had identified as EMOWAA – and it had later dropped "the state identifier" from its designation.

Unrest and Official Response

This declaration came after rallies on the weekend, when protesters invaded the complex demanding it be called the Benin Royal Museum.

A boisterous group insulted foreign guests at the museum before the launch – forcing them to be escorted out under official guard.

National leader Bola Tinubu has also intervened to attempt to settle the dispute, establishing a presidential committee to manage the situation.

Administrative Challenges

But in what way has this turned into so divisive – and such a PR disaster?

A great deal of it comes down to internecine rivalries at a regional government level, as it was the former state leader Godwin Obaseki – whose term in office ended recently – who was a primary advocate of the museum.

And it appears the government of the new governor, a strong supporter of the regional monarch, called the Oba, may desire increased control in the venture. The activists on that day, for instance, were demanding that the museum be positioned under the supervision of the current Oba.

The Benin Bronzes Controversy

This brings into focus the contentious issue of the historical artworks, one of Africa's most renowned historical legacy.

Because although the facility does eventually welcome visitors, these artifacts will be conspicuously absent.

They are brass, elephant tusk and wooden carvings that once decorated the king's residence of the ancient kingdom before UK forces looted them in the late nineteenth century during a punitive expedition.

Today, numerous continue to be scattered across galleries in Europe and North America -- including the UK institution, European center and the American museum.

Restitution Efforts

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

When ideas for the museum in Benin City were first announced in 2019, the influential figures on Nigeria's art scene expected it would become their ideal location – a state-of-the-art complex to display them to the world.

But the issues became confused some time back after the federal government announced that the traditional ruler would be the legal custodian of any returned bronzes – and the royal household pushed for a institution under the king's authority, contrary to the desires of Obaseki.

Diplomatic Challenges

This left Mowaa in a challenging circumstance: asserting a definite position on restitution while being careful on custodianship – and emphasising its wider mission, which led to|c